niumiJg   of   Calif<mtra. 


Division 


Received.  .....Jf.lL.Lz...  .......  . 


zj.. 


PRACTICAL  SPEAKING, 


AS 'TAUGHT  IN 


YALE     COLLEGE 


BY 


E.   D.   NORTH,   M.  D. 


"  The  art  of  speaking  well,  has,  in  most  civilized  countries,  been  a  cherished  mark 
of  distinction  between  the  elevated  and  the  humble  conditions  of  life." 

Dr.  JAMES  RUSH. 


NEW    HAVEN: 

PUBLISHED     BY     T.    H.    PEASE. 

1846. 


97/1 


Entered  according  to  Act  of  Congress,  in  the  year  1846, 

by  E.  D.  NORTH, 
in  the  Clerk's  Office  of  the  District  Court  of  Connecticut. 


PRINTED     By     B.     L.     HAMLEN, 

Printer  to  Yale  College. 


CONTENTS. 


Page. 

Preface, 

Introduction, 17 

Plan  of  Instruction, 30 

PART  1. 
GENERAL  HABITS  IN  DELIVERY. 

Chap.  1.  ATTITUDE  AND  GESTURE, 34 

Attitude, 36 

Gesture, 39 

Chap.  2.  VOICE,  .  47 

Dependence  of  Voice  on  Respiration,  ...  51 

Voice  or  Tone  of  Address, 54 

Agreeable  and  Impressive  Voice,  ....  58 

Refinement  and  Suavity  of  Voice,  ....  60 

Keys  of  the  Speaking  Voice, 64 

Chap.  3.  ANIMATED  AND  IMPRESSIVE  UTTERANCE,  ...  66 

Animated  Utterance,  or  Spirited  Accent,  ...  67 

Impressive  Utterance,  or  Prolonged  Tones,  .  .  71 

Chap.  4.  ARTICULATION  AND  PRONUNCIATION,  ....  74 

Articulation, 74 

Vowels, 77 

Consonants,        ........  80 

Articulation  of  Polysyllabic  Words,  .        ...  84 

Pronunciation, 88 

Chap.  5.  CONTINUOUS  DISCOURSE, 93 

Accent  of  Construction,  or  Grouping  of  Words,  .  94 

Distinct  Separation  of  Syllables,  ....  100 

Sustained  Expression, 101 

Chap.  6.  EMPHATIC  FORCE, 103 

Continued  Emphasis, 107 

Emphatic  Force  on  Single  Words,  ....  115 

Contrasts  of  Force, 119 


CONTENTS. 

Page. 

Deep  Earnestness  of  Tone, 122 

Consciousness  of  being  Earnest  and  Interesting,  .  126 

Tone  of  Communicating  Thought,  ....  129 

Chap.  7.  RHYTHM  AND  CADENCE, 133 

Rhythm, 134 

Rhythm  of  Words, 137 

Rhythm  of  Emphatic  Words, 143 

Rhythm  produced  by  Quantity,  ....  148 

Familiar  Rhythm, 157 

Cadence, 162 

Chap.  8.  CIRCUMSTANCES, 168 

Adaptation  of  Delivery  to  Size  of  Audience,  .  .  170 

Adaptation  to  Echo  of  Rooms, 173 

Adaptation  to  Restless  Audiences,  ....  176 

Chap.  9.  SELF-MANAGEMENT, 177 

Self-Possession, 177 

Manner  of  Beginning  an  Address,  ....  179 
Manner  of  Concluding  an  Address,  .  .  .  .1-1 

Appendix  to  Part  I.  The  Diatonic  Melody  of  Speech,          .         .  183 

PART  II. 

EXPOSITION    OF    THOUGHT. 

Chap.  1.  GROUPS  AND  PHRASES, 192 

Principles  of  Grouping, 197 

Phrases  of  Utterance, 204 

Phrases  of  Subject  and  Predicate,      ....  210 

"        of  Suspending  Clauses,          ....  212 

"       of  Circumstance, 213 

"       of  Object  of  Active  Verb,       ....  215 

"       of  Apposition, 217 

"       of  Parallel  Construction,        .         .         .         .219 

Chap.  2.  INFLEXIONS, 221 

Falling  Inflexions, 225 

Rising  Inflexions, 232 

Contrast  of  Inflexions, 237 

Questions, 238 

Conditional  Clauses, 241 

Circumflex  Inflexions, 243 

Concluding  Remarks  on  Inflexions,  ....  249 


CO  NTE  NTS .  5 

Page. 

Chap.  3.  EMPHASIS, 252 

Emphatic  Grouping, 257 

Grammatical  Emphasis, 263 

Logical  Emphasis, 266 

1.  Pointed  Affirmation  or  Designation,  .         .         .  267 

2.  Negation  contrasted  with  Affirmation,         .         .  274 

3.  Condition  and  Consequence,       ....  275 

4.  Concession  and  Denial, 278 

5.  Question  and  Answer, 280 

6.  Antithetical  Contrast, 280 

7.  Referential  Emphasis,        .    "    .         .         .         .  285 

8.  Emphasis  of  Correspondence,     ....  290 

9.  Intensive  Emphasis, 295 

10.  Emphasis  of  Remonstrance,       ....  302 

Emphasis  of  Imagination,           .....  307 

Emphasis  of  Emotion, 308 

Chap.  4.  TRANSITION  BETWEEN  PARAGRAPHS 324 

PART  III. 

EXPRESSION. 

Chap.  1.  MOODS  OF  DELIVERY, 334 

The  Direct  Mood  of  Delivery, 335 

The  Meditative  Mood, 337 

Chap.  2.  STYLES  OF  ADDRESS, 341 

1.  Unimpassioned  Affirmation,           ....  347 

1.  a.    Explanatory  Affirmation,      ....  351 

2.  Impassioned  Affirmation, 355 

2.  a.   Impassioned  Explanatory  Affirmation,  .         .  361 

3.  Contentious  Affirmation, 364 

3.  a.   Explanatory  Contentious  Affirmation,  .         .  367 
Styles  of  Speaking  characterized  by  Sentiment,         .  369 

1.  Unimpassioned  or  Simple  Sentiment,    .         .         .  370 

1.  a.    Unimpassioned  Pathetic  Sentiment,      .         .  377 

2.  Impassioned  Sentiment,         .....  378 

2.  a.   Impassioned  Pathetic  Sentiment,  .         .         .  386 

3.  Hortatory  Sentiment, 388 

3.  a.    Hortatory  Pathetic  Sentiment,       .         .         .  391 

Mixed  Styles .         .  393 

Style  of  Conviction, 395 

Appendix  to  PartS.  The  Tremor  of  the  Voice,  .         .        .397 


6  CONTE  NTS. 

PART  IV. 

LESSONS  FOR  EXTRACTS  SELECTED  BY  THE  STUDENT. 

Page. 

Established  Customs,           •         •..-....  400 

General  Plan  of  Lessons, 402 

Rules  of  Practice, 402 

Sophomore  Year,  First  Term, 494 

Sophomore  Year,  Second  Term,           .         .         .  411 

Sophomore  Year,  Third  Term, 414 

Junior  Year,  First  Term, 417 

Junior  Year,  Second  Term, 421 

Junior  Year,  Third  Term, 40(5 

Preparation  for  Junior  Exhibitions  and  Commencements,      .         .  430 

APPENDIX  TO  THE   VOLUME. 

Taste, 436 

Extemporaneous  Delivery, 437 

Reading, 433 

Poetry, 439 

Continued  Self-Cultivation  in  Delivery, 439 


ERRATA. 

P.  144,  line  2d  from  bottom,  for  adventurer,  read  adventurer. 
P.  161,  line  2d  from  top,  for  extract,  read  extracts. 
P.  222,  line  15  from  bottom,  for  effects,  read  efforts. 


NOTATION  OF  THE  EXAMPLES. 

It  is  believed  that  in  general,  this  will  explain  itself.  But  the  follow- 
ing references  will  be  convenient.  Each  line  constitutes  a  phrase  of 
utterance :  vide  p.  209.  Phrases  are  subdivided  into  groups  of  utterance 
by  a  wider  space  between  words  :  vide  pp.  95  to  97.  When  a  hyphen  is 
inserted  in  the  space  between  two  groups,  it  indicates  a  compound  group, 
and  that  the  pause  may  be  omitted  in  rapid  delivery  :  vide  p.  204.  For 
the  principles  for  placing  the  falling  inflexion  (\)  vide  p.  229.  For  those 
of  placing  the  rising  inflexion  (/)  vide  pp.  234  and  236.  For  the  use  of 
circumflexes  and  waves,  (\/)  (/\)  vide  pp.  243  and  244.  For  the 
use  of  italics,  and  of  words  with  separated  letters,  vide  pp.  143  and  310. 


PREFACE. 


THE  following  work,  as  will  be  perceived  upon  a 
slight  examination,  is  on  a  different  plan  from  any  which 
has  hitherto  appeared  on  the  subject  of  elocution.  It  is 
the  result  of  a  laborious  study  begun  jp  parly  yonth  nnrl 
continued  for  upwards  of  twenty  years,  of  the  physi- 
ology of  the  voice  and  the  accompanying  instincts  of  the 
bod  ylrT  gesture" The  great  work  of  Dr.  James  Rush, 
of  Philadelphia,  and  the  able  treatise  of  Dr.  Porter,  of 
Andover,  both  of  which  appeared  in  1827,  were  adopted 
by  the  present  author  immediately  on  their  first  appear- 
ance, and  the  truth  of  their  doctrines  subjected  to  the  test 
of  practical  and  independent  investigation.  The  latter 
of  these  works  was  found  to  be  an  improvement  upon 
those  of  Walker,  Sheridan,  and  others ;  but  the  former 
proved  to  be  accurate  and  practically  useful  in  proportion 
to  the  genius,  industry  and  acuteness  of  its  author. 
Probably  a  more  difficult  and  subtle  investigation  was 
never  entered  into  in  any  branch  of  the  sciences  of  ob- 
servation, and  the  more  it  is  submitted  to  the  test  of 
comparison  with  nature,  the  more  surprising  will  its 
completeness  and  accuracy  appear.  Yet  having  been 
for  some  time  laboriously  employed  as  a  teacher  of  read- 
ing and  speaking  before  its  appearance,  and  having  con- 


8  PREFACE. 

tinued  to  be  thus  occupied  for  most  of  the  time  since, 
the  present  writer  has  uniformly  found  that  such  philo- 
sophical and  strictly  scientific  modes  of  describing  the 
functions  of  the  voice  as  those  adopted  by  Dr.  Rush,  re- 
quire too  much  time  and  study  to  be  very  useful  to 
those  who  wish  merely  to  acquire  practical  skill  in  read- 
ing and  speaking,  and  that  for  the  purpose  of  teaching 
elocution,  it  is  absolutely  necessary  to  resort  to  a  differ- 
ent method. 

The  practical  student  needs  to  be  informed  of  those 
uses  only  of  the  voice  in  which  he  is  liable  to  err,  and 
that  these  be  described  in  such  a  way  as  corresponds 
with  his  feelings  of  embarrassment  and  difficulty,  when 
in  attempting  to  read  or  speak,  he  finds  that  his  delivery 
is  not  such  as  he  wishes  it  to  be.  Those  who  feel  their 
own  deficiencies  in  reading  or  speaking,  have  a  concep- 
tion more  or  less  perfect  of  what  they  ought  to  exhibit, 
but  find  on  trial  that  their  delivery  is  in  fact  strangely 
inferior  to  the  ideal  standard  in  their  minds.  In  this 
state  of  disappointment,  an  elocutionist  at  his  elbow, 
should  be  able  at  once  to  inform  such  a  one — in  the  first 
place  what  tones  he  is  using,  and  in  what  they  differ  from 
those  of  nature  and  cultivated  power ;  and  in  the  next 
place  to  explain  the  reason  why  his  voice  proceeds  differ- 
ently from  what  he  wishes.  This  last  is  the  most  im- 
portant service  required  of  the  teacher  of  elocution. 
Such  reasons  will  always  be  found  to  result  from  some 
unfortunate  habit  of  body  or  mind,  with  which  the 
teacher  is  familiar  from  study  and  experience.  The 
explanation  of  all  such  habits  belongs  to  the  science  of 
physiology,  taken  in  its  widest  acceptation,  as  is  done 


PREFACE . 


by  Chalmers,  in  hisJBridgewater  treatise,  and^as  it  is  fa- 
miliarly understood  by  medical  men  and  naturalists. 
Elocution  is  properly  a  branch  of  physiology,,  and  no 
more  connected  with  Rhetoric,  with  which  it  is  so  com- 
monly associated,  than  with  music,  painting  and  sculp- 
ture, with  which  also  it  has  considerable  connection. 
Every  complete  work  on  physiology  treats  of  voice,  ges- 
ture, and  of  the  alphabetic  .etauents.,. 

It  seems  to  be  commonly  supposed  that  the  unfortu- 
nate habits  above  alluded  to,  which  interfere  with  the  free 
expression  of  thought  and  sentiment  in  reading  and 
speaking,  must  necessarily  result  chiefly  from  mistakes, 
or  neglect  in  early  education.  This  is  a  serious  error — 
they  proceed  rather  from  that  weakness  of  mental  and 
physical  organization,  which  is  shared  in  a  greater  or 
less  degree  by  all.  The  faults  of  delivery  which  a 
teacher  is  called  upon  to  correct,  are  not  of  very  many 
kinds.  They  are  exhibited  with  little  variation  by  all 
who  have  not  cultivated  delivery  by  their  own  efforts, 
with  no  exceptions,  except  occasionally  in  the  case  of 
one  whose  organization  peculiarly  fits  and  predisposes 
him  for  public  speaking.  To  enlarge  his  sphere  of  ob- 
servation, the  author  at  one  period  welcomed  every  op- 
portunity of  instructing  persons  of  both  sexes  ancl  of  all 
ages,  from  six  to  forty  years  and  upwards,  and  for  a  con- 
siderable time  gave  individual  instruction  to  about  two 
hundred  persons  a  day.  He  soon  found  however,  that  the 
varies  difficulties  among;  so  many  wprfi  rPfl^'ly  rpdnni- 
ble  to  a  few  general  classes,  and  that  time  spent  in  point- 
ing out  Taults,  was  in  general,  lost  All  have  certain 
fundamental  requisites  of  delivery  to  learn  ;  all  must  ac- 

' "      2 


10 


PREFACE. 


a  voice  of  *>reatp.r  r.nmpaggj  degth  and  flexibility, 
than  is  developed  in  common  conversation  ;  all  must 
learn  to  (regulate  the  breath,  andjkeep  the  chest  in  that 
condition  which  enables  the  speaker  to  emit  the  succes- 
sive syllables  of  discourse  with  the  steadiness  and  slow- 
ness required  for  large  rooms;  fall  must  acquire  the  habit 
of  concentrating  the  mind  on  me  ideas  delivered,  to  such 
a  degree  that  no 


shall  prevent  the  natural  impulses  from  which  a  good 
delivery  results,  from  acting  with  intensity  and  power  ; 
Jail  must  acquire  that  judgment  of  the  ear  by  which  a 
speaker  distinguishes  for  himself  the  actual  sound  of  his 
voice  at  a  distance,  and  listens  to  it  after  it  has  issued 
from  him,  as  if  he  himself  were  one  of  the  auditors  as 
well  as  the  speaker  Mall  must  acquire  that  discipline  of 
the  mind,  by  which  the  words  of  a  written  or  a  memo- 
rized discourse  can  be  taken  from  the  dead  letter  before 
they  are  uttered,  and  transferred  to  the  mind  in  the 
shape  of  thoughts  not  yet  completely  clothed  Jn_Jan- 
guage,  so  that  when  actually  spoken^jha^utterance  shall 
proceed  from  the  same  impulses  as  if  he  were  extempo- 
rizing, and  the  ideas  thus  have  their  living  embodiment 
of  words  with  their  inseparably  associated  tones  ;  and 
finally,|ail  must  acquire  those  unfettered  bodily  habits, 
in  consequence  of  which  attitude  and  gesture  become  as 
varied  and  graceful  as  the  impulses  from  which  they 
spring.  From  infancy  onwards,  the  commerce  of  or- 
dinary life  teaches  us  to  talk.  We  learn  to  read  Jr£  ex- 
pressing aloud  the  words  which  silently  meet  the  eye, 
but  in  reading  merely  for  our  own  information,  the  mind 
is  in  the  condition  of  apprehending,  not  of  communica- 


PREFACE  .  11 

ting  thoughts.     Hence  the  tone  of  reading  is  at  first  ab- 
stracted  andjjiexpressive,  and  if  it  becomes  otherwise^ 

the  natural  ^Yjirfigsi  on  js  at  first  similar  t.n  rh^o/  snliin- 
quizing,  or,  still  more  precise!  y^t  resembles  that  which 

to  himself  words  which  have 


just  been  addressed  to  him  by  another,  in  order  to  be 
certain  that  he  has  caught  them  correctly.  We  next 
attempt  to  utter  them  in  living  tones,  to  satisfy  ourselves 
that  we  understand  them.  But  the  regulax_siiccession 
of  written  words  and  their  natural  rhythm,  cause  the 
voice  to  proceed  more  or  less  in  a  monotonously  regular 
and  a  mechanically  rhythmical  manner.  The  mind 
likewise  is  in  a  musing-  state.  From  both  these  causes, 
reading  is  at  first  naturally  characterized  by  what  is 
called  a  tone.  The  tones  with  which  children  read  are 
universal,  and  are  equally  exhibited  by  uneducated  men. 
Among  the  Asiatic  nations,  indeed,  where  the  people  act 
less  from  the  impulses  of  the  understanding  and  more 
from  those  of  the  imagination  and  feelings,  all  reading 
is  in  the  style  which  we  call  chanting,  and  in  their  lan- 
guages the  same  word  signifies  both  to  read  and  to  sing. 
Up  to  this  point,  we  have  nothing  which  can  be  called 
delivery.  This  term  implies  the  act  of  addressing  ideas  to 
others.  When  children  in  school  have  once  acquired  the 
ability  to  pronounce  written  words  at  sight,  all  instruction 
in  propriety  of  reading  consists  in  teaching  them  to  make 
an  effort  to  give  the  tones  by  which  we  communicate  writ- 
ten ideas  to  others.  This  act  requires  in  general,  the 
modulations  of  the  voice  used  in  conversation.  But  as 
the  mind  is  in  an  entirely  different  state  from  that  of  con- 
versation, it  is  by  a  long  and  slow  process  that  the  child 


12  PREFACE. 

learns  to  perform  the  double  mental  act,  first  to  make 
the  ideas  his  own,  and  then  to  express  them  to  others. 
Neither  is  it  necessary  for  ordinary  purposes  that  these 
two  things  be  done  in  perfection.  Enough  of  the  latter 
is  merely  required  to  give  a  reasonable  degree  of  life  and 
interest  to  the  reading. 

Speaking  however,  requires  a  higher  excitement  and 
a  stronger  effort  of  mind  and  body.  A  word  of  a  single 
syllable  may  be  uttered  in  three  tones :  first  in  that  of 
talking,  next  in  that,  partly  of  apprehending  the  mean- 
ing, partly  of  soliloquizing,  and  partly  of  talking,  which 
characterizes  reading,  and  lastly  in  those  tones  of  enforc- 
ing or  explaining  ideas  which  we  use  in  that  higher  ef- 
fort to  attract  the  attention  of  others,  which  characterizes 
speaking.  There  is  indeed  still  another  modification 
which  distinguishes  what  is  called  recitation,  as  when  a 
performer  recites  a  poem  before  an  audience,  and  which 
implies  an  intentional  display  of  art  and  skill — but  of 
recitation  we  do  not  propose  to  treat  in  the  present 
volume. 

In  regard  to  speaking,  it  is  a  curious  and  important 
fact,  that  the  power  in  the  vocal  organs  of  expressing 
words  in  the  tone  which  naturally  belongs  to  it,  is  not 
developed  by  the  common  intercourse  of  society.  A 
considerable  proportion  of  those  men  whose  public  de- 
livery is  confined  to  compositions  prepared  beforehand 
never  use  this  tone — and  when  they  apply  for  instruc- 
tion to  teachers  of  elocution,  are  found  to  be  incapable 
of  employing  it  at  pleasure.  They  have  never  made 
use  of  it,  except  that  occasionally  when  strongly  excited, 
they  have  done  so  instinctively,  but  have  not  been  after- 


PREFACE.  13 

wards  aware  that  their  vocal  organs  have  been  engaged 
in  an  unwonted  action  which  they  cannot  repeat  at  will. 
In  fact  the  peculiar  open  state  of  the  fauces,  the  more 
tense  contraction  of  the  vocalmuscles,  and  the  more  sud- 
den and  complete  emission  of  the  breath  which  produce 
the  tone  of  speaking,  are  natural  indeed,  but  natural  only 
in  that  sort  of  excitement  of  mind  which  leads  a  person 
to  speak  rather  than  to  talk,  and  which  is  not  needed 
in  ordinary  life.     It  will  be  found  on  investigation  that 
every  one  who  can  at  pleasure  employ  the  tones  of  a 
speaker,  has  learned  to  do  so  at  some  period  subsequent 
to  that  of  early  childhood.     Some  indeed  of  the  employ- 
ments of  life,  such  as  those  of  auctioneers,  debaters  and 
lawyers,  are  certain  to  develope  the  habit  of  using  the 
speaking  voice,  yet   those   whose   regular   duties   call 
only  for  the  deli vej^of  compositions  previously  prepared, 
are   not   in   circumstances   that   necessarily  elicit   this 
peculiar  action  of  the  vocal  organs.     Boys  and  young 
men  never  exhibit  it  except  after  considerable  practice  ; 
when  once  however  it  is  established,  from  that  time 
they  find  no  difficulty  in  speaking  whenever  they  wish 
to  do  so.     They  may  indeed  afterwards  improve  in  de- 
livery, but  as  soon  as  they  practically  understand  how 
to  command  the  voice  that  distinguishes  speaking  from 
talking  or  from  reading,  they  feel  a  consciousness  of 
having  acquired^  ne \v_facjjlty,  and  are  ever  after  consent 
of  their  ability  to  use  it.     It  is  indeed  a  kind  of  muscular 
action,  which  like  that  of  swimming  or  of  skating,  is 
perhaps  attained  after  a  long  continuance  of  repeated  ef- 
forts, but  when  in  fact  mastered,  is  often  gained  sud- 
denly and  at  once.     Like  these  acts  likewise,  that  of 

2* 


14  PREFACE. 

speaking  when  once  learned,  is  never  forgotten  or  lost 
from  want  of  practice.  All  the  three  may  also  be  learned 
either  slowly,  or  suddenly  and  by  an  instantaneous  and 
felicitous  effort.  The  author  continually  witnesses  in- 
stances of  the  latter  kind  as  well  as  the  former.  He  has 
been  in  the  habit  of  telling  those  who  after  a  long  con- 
tinued repetition  of  failures,  suddenly  break  into  the 
speaking  tone,  that  from  that  time  forwards,  they  will 
be  able  to  speak. 

These  facts  upon  which  we  have  been  dwelling  so 
long,  lie  at  the  foundation  of  all  philosophical  and  prac- 
tical elocution.  Though  they  have  been  too  much 
overlooked  by  men  of  learning,  yet  the  unlearned  part 
of  the  community  have  always  felt  that  the  very  act  of 
speaking  is  a  distinct  and  peculiar  one.  A  sensible  and 
respectable  man  will  say  to  a  teacher,  "In  town  meet- 
ings I  can  talk  but  I  cannot  speak,  and  I  wish  my  child 
to  be  taught  at  school  to  speak,  so  that  he  may  take  a 
higher  stand  than  his  father."  The  most  ignorant  class 
of  enthusiasts  in  religion  indeed  esteem  the  distinction 
so  fundamental,  that  they  attach  an  obscure  idea  of  in- 
spiration to  a  suddenly  acquired  faculty  of  making  reli- 
gious harangues.  President  Dwight  remarks  of  this 
class  r>f  roiiorirmQ  ing|p]1pi^nrg|  that  they  are  generally  supe- 
rior to  tHeiV hearers  in  nothing  but^vpiuMity.*  They 
might  also  be  described  as  differing  from  their  hearers  in 
the  power  of  using  the  speaking  voice  at  pleasure. 

It  is  the  object  of  the  present  volume  to  assist  in  ac- 
quiring the  art  of  public  speaking.  The  whole  course 

*  Dwight's  Travels. 


PREFACE.  15 

of  instruction  has  for  its  fundamental  idea  that  the  ac- 
quisition of  tliTs^arrrelsults "  m"fKe^case'6f  all  but  a  very 
small  number  of  men,  from  some  course  of  mental  or 
bodily  training.  This  may  be  acquired  after  entering 
upon  life,  as  is  so  often  done  by  lawyers  and  debaters, 
through  practice  before  audiences ;  but  it  is  generally 
considered  desirable,  that  those  who  are  gaining  a  liberal 
education  should  be  enabled  to  step  forth  from  the  seclu- 
sion of  a  seminary  of  learning,  adorned  and  equipped 
with  this  addition  to  their  other  accpmplishmejjts. 

This  volume  is  prepared  with  an  express  adaptation  to 
the  wants  of  the  institution  in  which  its  author  is  em- 
ployed, and  is  confined  strictly  to  the,  topics  which  he  is 
constantly  called  o"  *<*  diar^gy  in  the  course  of  his  in- 
structions, and  in  answer  to  the  numergjg§_ enquiries  of 
intelligent  young__men.  The  lengthened  introduction 
which  follows  is  addressed  exclusively  to  the  students  of 
the  institution,  and  is  rendered  necessary  by  there  being 
new  classes  to  teach  in  each  successive  year. 

As  "  The  Philosophy  of  the  Human  Voice,"  by  Dr. 
Rush,  is  a  large  volume,  and  found  difficult  of  compre- 
hension by  many,  the  writer  would  particularly  recom- 
mend to  those  who  wish  to  become  acquainted  with  that 
gentleman's  discoveries,  a  neat  and  elegant  treatise  by 
Prof.  Henry  N.  Day,  of  Western  Reserve  College,  which 
is  an  independent  work  on  the  same  general  plan. 

New  Haven,  Dec.  31,1845. 


PRACTICAL  SPEAKING. 


INTRODUCTION. 

IT  is  the  object  of  the  following  work,  to  exhibit  the  course 
of  instruction  in  elocution,  which  is  at  present  pursued  in  Yale 
College.  Since  the  writer  has  had  the  responsibilities  of  his 
present  situation,  the  number  of  undergraduates  in  the  institu- 
tion has  been  on  an  average  about  four  hundred.  The  three 
younger  classes  receive  systematic  instruction  in  speaking 
throughout  the  whole  of  the  college  year,  and  any  member  of 
the  Senior  class  is  accommodated,  without  charge,  with  private 
instruction  as  often  as  he  wishes.  The  number  to  be  taught  is 
consequently  so  great,  as  to  oblige  the  instructor  to  resort  to 
short  and  hurried  lessons.  It  is  a  necessary  rule  that  each  les- 
son be  confined  to  a  single  subject,  and  also  that  no  subject  be 
introduced  which  is  not  proved  by  experience  to  be  absolutely 
essential  in  its  importance.  The  problem  has  all  along  been,  to 
find  out  what  difficulties  most  embarrass  young  men  who  are 
preparing  to  speak  in  public,  and  what  kind  of  instruction  in 
reference  to  these  difficulties  will  be  most  willingly  received. 

In  consequence  of  the  failure  of  the  writer's  physical  strength, 
this  volume  has  been  prepared  during  the  present  college  term, 
in  the  midst  of  his  labors  as  an  instructor,  and  has  for  its  object 
merely  to  impart  the  information  which  he  has  hitherto  given, 
in  the  infhrmaLJe^turin^  and  conversation  which  take  place  in 
teaching.  Not  a  page  having  been  previously  written,  and 
most  of  it  having  been  composed  in  a  state  of  severe  suffering, 
it  exhibits  many  deficiencies,  yet  will  enable  him  to  perform 


18  INTRODUCTION. 

his  duties  with  less  labor,  and,  he  hopes,  with  more  success. 
His  only  alternative  is  either  to  resign  his  situation  or  attempt 
to  continue  by  the  assistance  of  a  work  like  the  present. 

No  subject  has  been  omitted  which  the  instructor  in  this  in- 
stitution is  called  on  to  teach.  (Persevering  efforts  have  in  for- 
mer years  been  made,  to  present  somewhat  of  the  philosophy 
of  English  phonology  and  orthoepy ;  the  structure  and  rhythm 
of  English  meters;  the  rhythm  of  ancient  versification  which 
results  from  the  systematic  employment  of  quantity,  considered 
as  distinct  from  accent ;  the  distinctions  between  public  read- 
ing in  various  styles,  and  public  speaking;  the  difference  be- 
tween public  and  parlor  reading ;  and  finally,  the  adaptation  of 
reading,  especially  in  poetry,  to  the  peculiar  styles  of  thought, 
sentiment  and  language  which  characterize  our  most  original 
writers — so  managing  elocution  as  to  assist  the  mind  in  en- 
deavoring to  sympathize  with  the  peculiar  genius  of  each. 
None  of  these  subjects,  however,  have  any  necessary  connexion 
with  the  main  object  of  enabling  each  student  to  do  justice  in 
future  life  to  his  talents  and  education  when  speaking  his  own 
written  or  extemporaneous  ideas.  For  some  time  likewise,  an 
effort  was  made  to  assist  the  younger  students  in  acquiring  a 
fondness  for  the  beauties  of  English  literature.  For  this  pur- 
pose, use  was  made  .of  the  means  which  are  the  province 
strictly  of  elocution.  The  peculiar  comment  afforded  by  the 
voice  of  a  practised  reader,  and  his  interjectional  remarks, 
are  sometimes  valuable  iiTawakening  an  interest  in  the  beauties 
of  literature,  and  thus  preparing  the  way  for  the  more  quiet, 
but  also  more  studied  and  learned  commentary  of  the  profes- 
sional critic.  The  instructor  in  the  present  branch,  however, 
has  been  conscientiously  careful  never  to  appear  to  lend  coun- 
tenance to  the  opinion,  that  such  accomplishments  as  he  is 
employed  to  teach,  can  be  advantageously  pursued  while  any  of 
the  severer  studies  are  neglected.  All  these  efforts  to  teach 
any  thing  more  than  public  speaking,  have  failed,  and  have 


INTRODUCTION.  19 

been  successively  abandoned.  Serious  difficulties  have  attend- 
ed efforts  to  introduce  any  of  the  subjects  above  mentioned,  and 
the  attempt  will  not  again  be  made  unless  by  direction  of  the 
governing  faculty. 

The  topics  discussed  in  the  present  volume,  have  all  met 
with  the  cordial  approbation  and  sympathy  of  the  students,  and 
notwithstanding  the  failure  of  success  in  respect  to  the  others, 
the  instructor  has  had  the  satisfaction  of  knowing,  that  though 
occupying  a  situation  of  no  official  rank  or  authority,  and  yet 
one  in  which  from  the  very  nature  of  the  subject  taught,  the 
modest  and  diffident  must  be  brought  forward  and  protected, 
and  those  whose  example  or  conduct  obstructs  their  own  and 
others'  improvement  must  be  checked,  and  if  necessary  sternly 
rebuked,  he  has  never  to  his  knowledge  made  a  personal  ene- 
my or  caused  the  governing  faculty  any  trouble.  It  has  been 
by  the  manifestations  of  kind  respect  on  the  part  of  the  stu- 
dents, that  he  has  been  encouraged  in  carrying  into  action  the 
principle  that  "  faithful  are  the  wounds  of  a  friend."  Young 
men  feel  that  among  those  whose  example  does  not  entice  them 
to  immorality,  they  can  have  no  worse  enemy  than  he  who  de- 
frauds them  of  that  part  which  it  is  his  duty  to  afford  them,  of 
the  highest  of  earthly  blessings,  education. 

The  instructor  is  careful  to  have  it  understood  that  speaking 
is  not  to  be  learned  by  making  him  a  model,  and  makes  it  an 
important  rule  to  endeavor  to  accommodate  himself  to  the 
natural  tendencies  in  delivery  of  the  student — aiming  so  to 
manage  his  corrections  that  they  shall  be  received  thankfully, 
and  assist  instead  of  hinder  him  in  his  natural  efforts  to  be  ex- 
pressive and  interesting.  As  a  result  of  this  mode  of  proceed- 
ing, no  difficulties  ever  arise  from  differences  of  taste.  It  is 
not  indeed  the  province  of  a  mere  teacher  to  dictate  upon  such 
points,  but  rather  to  assist  the  student  towards  a  satisfactory  ex- 
ecution in  the  style  which  he  prefers,  or  which  is  recommended 
and  enjoined  by  those  placed  in  authority  over  him.  The  pres- 


20  INTRODUCTION. 

ent  instructor  at  first  rnet  with  difficulty  in  persuading  some 
that  he  taught,  to  make  a  hearty  effort  to  be  spirited  and  inter- 
esting, in  consequence  of  their  supposing  that  his  personal  taste 
was  in  favor  of  a  disagreeable  degree  of  loudness;  but  the  fact 
is  now  well  understood  in  this  institution,  that  loud  speaking  is 
at  first  easier  than  that  which  is  more  subdued,  and  that  the  on- 
ly infallible  mode  of  practice  by  which  a  liability  to  disagreea- 
ble loudness  can  be  prevented,  is  for  each  one  to  discipline  his 
own  voice  until  he  knows  its  tendencies  and  capabilities,  and 
never  falls  into  loudness  by  mistake.  He  prefers,  more  than 
most  persons,  a  subdued  and  mellow  voice,  and  finds  loud- 
ness  the  most  difficult  of  all  faults  to  correct.  It  can  be  suc- 
cessfully done  only  by  means  of  gymnastic  vocal  exercises, 
similar  to  those  employed  in  the  ablest  schools  of  music,  by 
which  the  tone  of  the  voice  is  made  deep,  mellow  and  clear. 

k  Throughout  the  whole  course,  the  distinction  is  carefully  kept 
view  between  what  can  be  taught  in  delivery,  and  what  must 
be  original  with  the  speaker.  In  a  loose  way,  we  may  call 
this  distinction  that  between  elocution  and  eloquence.  The 
latter  must  be  original,  arid  will  vary  according  to  talents,  tem- 
perament and  character."^  A  teacher  of  elocution  must  con- 
scientiously bear  in  mind  that  if  the  evil  is  not  guarded  against, 
those  who  are  receiving  instruction  from  him  will  be  apt  to  trust 
too  exclusively  to  rules,  and  thus  become  less  individual  and 
consequently  less  interesting  and  effective  in  their  several  styles 
of  eloquence. 

Those  who  from  peculiar  organization  have  a  decidedly  nat- 
ural turn  of  mind  for  public  speaking,  seem  not  to  be  more  in 
number  than  two  or  three  in  a  hundred.  Such  actually  need 
little  or  no  instruction,  and  although,  when  young,  they  are  of- 
ten the  most  fond  of  receiving  it,  little  more  is  necessary  for 
the  teacher  than  to  encourage  them  to  trjjs|j:>oldly  to  their  nat- 
ural impulses.  Experience,  however,  proves  that  there  is  no 
serious  difficulty  for  the  rest,  in  learning  to  address  a  public 


INTRODUCTION.  21 

assembly  in  a  digmfied,  agreeable,  and  interesting  manner. 
These  also,  if  their  minds  are  matured  and  disciplined  by  a  lib- 
eral education,  may  readily  make  themselves  prompt,  fluent  and 
methodical,  as  extemporaneous  speakers/ ^Tet  it  is  not  to  be 
expected  that  all  will  become  eloquent.  Those  who  attain  to 
this  height,  will  reach  it  only  by  cajgful  and  persevering  self- 
cultivation  of  the  imagination  and  character.  An  instructor 
can  Ho  no  more  than  encourage  and  sometimes  assist.  Tasks 
cannot  be  imposed  in  eloquence,  although  elocution  must  be 
learned  by  means  of  them. 

It  is  the  object,  then,  of  the  present  treatise,  to  exhibit  a  set 
of  lessons  which  are  to  be  practised  as  tasks,  and  which  shall 
make  but  little  requisition  on  the  knowledge  or  judgment  of  in- 
experienced pupils.  It  is  indispensable  that  these  be  neither 
difficult  nor  extremely  disagreeable  to  the  student — that  they 
be  such  that  he  can  proceed  in  them  with  confidence  and  pleas- 
ure, and  with  a  consciousness  of  their  utility.  If  well  contri- 
ved, their  practice  will  ultimately  secure  good  habits,  in  all  the 
requisites  for  being  an  acceptable  and  effective  speaker.  De- 
livery will  be  audible,  distinct,  fluent,  graceful,  earnest,  impres- 
sive, and  in  consequence  of  the  union  of  these  qualities,  will  be 
forcible  and  interesting. 

The  only  efficient  modes  of  giving  instruction  in  elocution, 
are  similar  in  most  respects  to  the  methods  pursued  in  the  great 
schools  of  vocal  music.  Such  methods  are  generally  adopted 
in  our  colleges  and  higher  schools.  Not  only  elocutionists,  but 
professors  of  rhetoric  employ  them  for  pupils  of  every  age. 
Explanation  is  always  accompanied  by  vocal  illustration,  and 
by  associated  practice  time  is  saved  sufficiently  to  enable  all  the 
learners  to  discipline  their  own  organs  thoroughly,  instead  of 
waiting  in  tedious  impatience  for  each  one  to  take  his  turn. 
Attempts  at  private  instruction  without  the  assistance  of  the 
discipline  of  an  institution,  are  generally  attended  with  very 
unsatisfactory  success.  It  is  seldom  except  by  such  help,  that 

3 


22  INTRODUCTION. 

a  satisfactory  grounding  can  be  given  in  the  elements  of  any 
art  or  science.  And  in  no  branch  of  study  is  a  stringent  dis- 
cipline more  required  than  in  this. 

Time  likewise  is  an  important  element  among  the  requisites 
for  success.  Superior  ability  in  delivery  can  only  result  from 
a  gradual  development  of  capabilities  and  the  formation  of  hab- 
its. Young  men  who  are  preparing  to  be  public  speakers, 
sometimes  express  a  wish  that  they  could  have  it  in  their  pow- 
er for  a  while  to  devote  themselves  exclusively  or  principally  to 
this  study,  and  thus  finish  it  as  a  distinct  branch  of  education. 
Such  wishes  imply  a  serious  mistake.  To  be  ultimately  suc- 
cessful, the  study  of  delivery  must  proceed  part  passu  with  that 
development  of  mind  which  results  from  the  whole  course  of 
education.  Mr.  Russell,  who  is  so  extensively  known  as  an 
able  teacher  of  elocution,  has  well  explained,  that  delivery  pro- 
ceeds from  the  whole  character.  The  speaking  of  a  school- 
boy must  necessarily  be  boyish,  and  that  of  a  college  student, 
in  the  early  part  of  his  course,  will  of  course  be  inferior  to 
what  he  will  be  capable  of  exhibiting  after  his  mind  has  been 
strengthened  by  long  application  to  severe  studies.  Habits  al- 
so cannot  be  formed  at  once,  while  rules,  lessons  and  practice 
are  of  little  use  except  as  they  form  habits  of  voice  and  gesture. 
In  penmanship,  "  a  good  hand"  is  formed  by  rules  and  lessons, 
but  graceful  writing  is  executed  without  elaborate  pains,  and  is 
the  result  of  habits  previously  established.  To  establish  hab- 
its, the  lessons  from  which  they  are  to  proceed  must  not  be  in 
too  quick  succession.  Six  lessons  given  in  as  many  successive 
hours,  will  have  but  little  effect  compared  with  what  will  result 
if  they  are  given  in  successive  days  or  weeks.  Slowness  in 
this  respect  is  especially  true  in  regard  to  the  mind,  and  all  hab- 
its of  delivery  may  be  ultimately  referred  to  the  mind  and  char- 
acter. A  further  illustration  of  these  truths  may  be  derived 
from  the  practice  of  composition  in  our  highest  seminaries. 
The  maturity  of  style  displayed  in  the  magazines  conducted  by 


INTRODUCTION.  23 

their  members,  is  certainly  considerable,  and  yet  it  is  the  result, 
so  far  as  practice  is  concerned,  not  of  very  frequent  trials  in 
composition,  but  of  attempts  made  at  considerable  intervals 
throughout  the  whole  course  of  education. 

For  further  explanation  of  the  principles  of  the  present  work, 
reference  may  be  made  to  partJoujth^QJH¥tra^«ljda  Rhetoric,  a 
treatise  which  was  composed  when  its  author  was  at  the  head 
of  one  of  the  colleges  of  Cambridge  University.  Not  only 
is  the  false  mode  of  teaching  elocution  described  by  him,  one 
in  which  teachers  are  liable  to  proceed,  but  the  injurious  habits 
described  are  still  more  often  acquired  by  those  who  attempt 
to  improve  their  own  delivery,  by  means  of  a  set  of  rules,  or  by 
imitating  a  favorite  model. 

As  teachers  of  elocution  often  meet  with  those  who  are 
strongly  prejudiced  against  any  cultivation  of  an  improved  de- 
livery, and  who  feel  a  disgust  at  the  very  thought  of  attracting 
popular  applause  as  speakers,  it  may  not  be  useless,  and  will 
certainly  promote  a  good  understanding  between  instructor  and 
pupil,  to  give  the  subject  of  the  true  usefulness  of  elocution  a 
candid  consideration. 

C^  It  is  a  popular  notion,  loosely  entertained  indeed,  but  often 
\expressed,  that  a  good  delivery  is  the  most  important  of  all  ac- 
complishments for  promoting  the  success  in  life  of  a  man  whose 
profession  requires  him  to  be  a  speaker.  This  appeal  to  worldly 
interest  often  excites  aversion  in  the  minds  of  young  men,  while 
the  more  acute  among  them  perceive  the  falsity  of  the  assertion. 
So  far  as  mere  success  in  life  is  concerned,  impartial  observa- 
tion will  prove  that  though  a  good  delivery  is  often  advanta- 
geous, it  not  only  is  not  imperatively  called  for  by  society,  but 
bad  styles  of  speaking  will  often  secure  applause  and  patronage. 
Even  dullness  of  delivery  is  not  without  **•*  !lsfts-  Weakness 
of  thought  and  incorrectness  of  style  are  often  concealed  from 
observation  by  obscurity  of  enunciation.  A  sort  of  dignified 
mumbling  is  not  unfrequently  resorted  to  by  men  ambitious  of 


24  INTRODUCTION. 

influence.  So  much  easier  is  it  to  speak  with  force  and  fluency, 
than  to  shew  ability  in  writing  ;  so  often  is  an  animated  delivery 
the  result  merely  of  confidence  and  presumption,  and  so  fre- 
quently are  successful  arts  of  delivery  used  for  selfish  ends  only, 
that  there  exists  in  society  a  readiness  to  suspect  a  good  speaker 
of  being  insincere  or  shallow.  Men  are  justly  satisfied  with 
learning,  talent  and  elevation  of  character,  although  their  pos- 
sessors may  express  valuable  matter  in  a  dull  and  tedious  man- 
ner. A  superior  delivery  is  not  even  necessary  in  all  cases  for 
eloquence.  Webster  has  stated  a  philosophical  truth  in  saying 
that  "  eloquence  must  exist  in  the  man,  in  the  subject  and  in 
the  occasion. "\  Had  he  been  expressly  treating  the  point,  he 
would  probabjy  have  added,  that  of  the  three,  "  the  occasion" 
is  the  most  influential.  Indeed  the  appropriate  occasions  for 
high  eloquence  are  rare.  *  Accomplished  oratory,  of  which  de- 
livery is  a  part,  attracts  admiration  and  may  thus  be  injurious 
to  influence  and  usefulness.  It  is  a  critical  remark  of  F. 
Schlegel,  that  Bishop  Bossuet,  the  most  splendid  of  French  ora- 
tors, was  too  eloquent  for  a  clergyman.  There  is  no  evidence 
that  the  Apostle  Paul  was  admired  as  an  orator  in  Greece  or 
Rome.  Had  he  been,  his  polished  hearers  might  have  excused 
themselves  from  regarding  him  in  any  other  light  than  merely 
as  an  interesting  speaker.  In  the  most  profoundly  skillful  piece 
of  oratory,  perhaps  in  any  language,  Shakespeare  makes  Antony 
say,  "  I  am  no  orator,  as  Brutus  is." 

Still  it  is  commonly  acknowledged  that  there  is  to  a  greater 
or  less  extent  an  obligation  resting  upon  all  who  are  pursuing  a 
course  of  liberal  education,  to  acquire  the  accomplishment  of  a 
good  delivery,  if  circumstances  put  in  their  power  to  obtain  it. 
In  the  first  place  a  man  feels  deficient  without  it,  and  experien- 
ces a  natural  impulse  in  favor  of  its.cjiliiyalip.n.  just. as  he  does 
with  respect  to  other  branches  of  knowledge.  Self-cultivation 
is  a  universal  law  of  reason  arid  conscience.  On  the  same 
ground,  society  also  expects  evidences  of  this  accomplishment 
from  men  of  education.  •* 


INTRODUCTION.  25 

In  the  next  place  we  owe  it  to  our  fellow  men  to  endeavor  to 
make  ourselves  useful  and  agreeable.  A  good  delivery  is  the 
most  powerful  of  all  instruments  for  the  purpose  of  communi- 
cating our  ideas  —  at  least  to  the  ignorant  and  illiterate.  For 
this  purpose  it  is  far  more  valuable  than  mere  literary  correct- 
ness or  beauty  of  style.  For  uneducated  minds,  and  the  great 
majority  of  miscellaneous  audiences  are  of  this  description, 
nothing  will  compensate  for  the  want  of  clearness  and  force  of 
delivery,  if  the  speaker  is  really  desirous  of  instructing  or  even 
ly  to  Tmprnhnnd-him  Delivery  should 


be  especially  cultivated  by  all  who  are  called  upon  to  teach.  It 
is  often  said  that  this  accomplishment  is  most  valuable  to  lawyers, 
but  this  class  of  speakers  have  less  need  of  cultivating  it  than 
any  other,  because  from  the  situation  in  which  they  speak,  they 
can  scarcely  avoid  becoming,  after  a  few  trials,  both  fluent  and 
forcible.  Some  degree  of  coarseness  in  delivery  is  often  favor- 
able in  its  influence  on  juries,  and  a  lawyer  can  never  be  so 
absurd  as  to  expect  to  influence  a  judge  by  means  of  elocution. 
No  situation  is  so  easy  for  a  man  to  speak  in,  as  that  of  main- 
taining one  side  only  of  a  question  before  a  judge  or  jury. 
Lawyers  do  not  succeed  as  well  as  clergymen  when  addressing 
large  audiences,  and  the  debates  on  party  questions  in  conven- 
tions of  clergymen  are  at  least  as  eloquent  as  those  in  political 
assemblies. 

A  man  is  bound  also  to  be  reasonably  agreeable,  as  well  as 
useful.  So  great  is  the  just  reverence  for  intellect  and  learning, 
that  when  listening  to  speakers  whom  they  respect  for  their  tal- 
ents and  attainments,  audiences  do  not  complain  of  faults  in 
delivery,  which  would  be  considered  proof  of  want  of  good  man- 
ners in  private  intercourse.  This  however,  is  not  a  very  good 
excuse  for  such  faults  on  the  part  of  speakers  themselves. 
Avoidance  of  disagreeable  attitudes  and  gestures,  and  a  mani- 
fest pains  to  be  at  least  distinct  and  audible,  are  required  by 
common  respect  and  courtesy,  as  much  in  a  public  meeting  as 

3* 


26  INTRODUCTION. 

in  a  private  company.  It  is  only  such  considerations  as  these, 
in  favor  of  the  cultivation  of  elocution,  that  are  of  any  real  effi- 
ciency towards  inducing  young  men  to  apply  themselves  to  its 
study.  Arguments  founded  in  vulgar  selfishness,  disgust  many 
and  cause  them  to  despise  the  accomplishment;  while  on  the 
other  hand,  the  same  inducements  rarely  succeed  in  persuading 
to  useful  application  even  those  who  apparently  consent  to  them. 

There  is  another  recommendation  to  the  study  and  practice 
of  delivery,  which  being  a  legitimate  motive,  it  may  be  well  to 
mention.  It  is  the  pleasure  which  attends  upon  successful 
efforts  to  free  ourselves  from  feeling  restrained  and  hampered  in 
the  exercise  of  our  natural  faculties.  Mind  and  body  both  be- 
come unfettered,  and  the  speaker  enjoys  his  freedom  and  con- 
sciousness of  power. 

But  in  reference  to  a  College  education,  the  strongest  reason 
for  practising  elocution  is  found  in  the  fact,  that  for  the  last  two 
or  three  generations,  there  has  been  no  other  available  counter- 
active of  certain  injurious  effects  of  college  life.  To  say  noth- 
ing of  vulgar  tastes  and  coarse  manners,  the  established  course 
of  education  for  some  time  past  has  kept  a  young  man  occu- 
pied from  the  years  of  childhood  up  to  the  period  when  he  con- 
cludes his  professional  studies,  in  such  a  way  as  directly  and 
powerfully  to  induce  indolent  andjiAvkwjyd  habits  of  character. 
Unmanly  diffidence,  absence  of  mind  in  common  intercourse, 
social  cowardice,  and  bodily  awkwardness  and  laziness,  have 
been  felt  extremely  difficult  to  avoid,  by  serious  and  intellectual 
young  men,  whose  time  has  been  spent  principally  at  semina- 
ries of  learning.  There  have  been  no  counteracting  influences 
from  the  practice  of  any  accomplishment  except  that  of  compo- 
sition, and  this  does  not  answer  the  purpose,  as  it  is  cultivated 
m  solitude.  Extemporaneous  debate  has  indeed  been  of  some 
little  use,  but  the  embarrassment  which  generally  accompanies 
its  first  practice,  fully  counteracts  its  benefits  in  respect  to  the 
things  now  under  consideration.  At  some  former  periods,  the 


INTRODUCTION,  27 

case  was  different.  Among  the  Greeks  and  Romans,  the  "in- 
genuipmri"  (young  gentlemen,)  during  the  whole  course  of 
their  literary  education,  practised  gymnastic  and  warlike  exer- 
cises, which  tended  to  keep  the  manly  energies  of  the  charac- 
ter in  equal  development  with  intellectual  discipline  and  refine- 
ment. During  the  ages  of  chivalry,  similar  exercises  were 
practised  by  all  but  the  monks.  Even  down  to  the  middle  of 
the  last  century,  some  accomplishments  continued  to  be  culti- 
vated which  answered  the  same  purpose  to  a  considerable  de- 
gree. In  Lord  Chatham's  letters  to  his  son,  the  celebrated  Wil- 
liam Pitt,  the  latter  is  earnestly  exhorted  not  to  neglect  his  dan- 
cing. Fencing  and  horsemanship  were  at  that  period  univer- 
sally cultivated  by  young  men  who  expected  to  fill  stations  of 
rank.  Washington  was  distinguished  as  an  elegant  dancer  and 
an  admirable  horseman.  Among  the  Greeks,  and  among  the 
English  in  the  days  of  Elizabeth,  instrumental  music  was  care- 
fully cultivated  by  the  class  corresponding  to  that  which  at  the 
present  day  claims  a  superior  right  to  the  appellation  of  gentle- 
men. But  in  our  present  systems  of  education,  nothing  of  this 
kind  finds  place.  Systematic  gymnastic  exercises  have  been 
thoroughly  tried,  and  universally  abandoned,  as  failing  to  an- 
swer their  intended  purpose.  A  military  education,  indeed, 
such  as  that  at  West  Point,  has  its  appropria.te.jeniedifisJbr-the 
evils  of  the  other  systems ;  yet  though  the  attempt  has  been 
faithfully  made  to  imitate  in  colleges  this  part  of  a  military  ed- 
ucation, it  has  not  succeeded.  Numerous  efforts  have  been 
made  to  incorporate  systems  of  manual  labor,  but  the  results  of 
such  trials  have  been  so  unsatisfactory,  that  they  seem  not  likely 
to  be  repeated.  To  imitate  the  Greeks  in  making  instrumen- 
tal music  a  serious  part  of  a  liberal  education,  would  at  the  pres- 
ent day  be  manifestly  absurd  ;  to  resort  seriously  to  dancing  for 
this  great  object,  would  be  ridiciilftus^jrhe^cultivation  of  pu- 
gilism, so  earnestly  pursued  in  England,  is  too  brutish  for  this 
country.  The  common  athletic  sports  of  young  men  are  in- 


28  INTRODUCTION. 

valuable  for  purposes  of  exercise,  but  cannot  take  rank  as  ac- 
complishments. Carriages,  rail-cars  and  steamboats  are  super- 
seding the  necessity  of  horsemanship.  Nothing  seems  to  re- 
main as  a  remedy  for  this  great  deficiency  but  the  manly  culti- 
vation of  practical  oratory,  and  perhaps  this  accomplishment 
will  ultimately  be  found  of  more  value  for  the  purpose  than  any 
thing  else.  \ 

To  make/it  thus  available,  however,  it  must  not  be  cultiva- 
ted, as  has  so  often  been  done,  in  a  mere  spirit  of  emulating 
theatrical  performers.  Even  the  highest  and  most  natural  elo- 
cution for  the  stage,  is  not  only  totally  different  from,  but  dia- 
metrically opposite  to  that  of  public  speaking.  The  most  seri- 
ous mistake  that  can  be  made  with  reference  to  oratory,  is  to 
suppose  that  even  an  absolutely  perfect  actor,  if  such  could  be 
found,  might  be  made  a  model  for  an  orator.  The  situation  of 
an  actor  is  in  all  respects  different  from  that  of  a  public  speak- 
er. In  proof  of  this  assertion,  it  will  be  sufficient  simply  to  re- 
fer to  the  totally  different  style  of  delivery  adopted  by  an  ac- 
complished and  favorite  performer,  when  at  the  close  of  the 
evening  he  advances  to  the  front  of  the  stage,  and  speaks 
not  as  an  actor,  but  in  his  own  person  to  thank  the  audience 
for  their  favoring  regards.  No  progress  began  to  be  made  in 
improving  the  elocution  of  our  colleges,  until  after  the  banish- 
ment of  serious  theatrical  performances.  Common  college  col- 
loquies do  not  strictly  belong  to  the  class  of  theatrical  perform- 
ances. They  may,  perhaps,  be  best  described  by  the  appella- 
tion of  intellectual  frolics,  and  as  such  have  a  legitimate  place 
and  value. 

It  is  obvious,  however,  that  to  derive  these  advantages  from 
the  practice  of  elocution,  as  well  as  to  make  any  useful  attain- 
ments in  the  art,  the  student  must  yield — to  use  a  fine  expres- 
sion of  Burke — "  a  liberal  nhqdience"  to  the  most  thorough  dis- 
cipline.  Military  discipline  soon  succeeds  in  transforming  the 
most  clownish  and  degraded  individuals,  even  the  very  outcasts 


INTRODUCTION.  29 

of  society,  who  enlist  as  common  soldiers,  into  men  distinguish- 
ed  for  an  erect,  manly  carriage  and  a  dignified  demsajior.  and 
infuses  into  them,  not  only  feelings  of  honor,  but  of  enthusias- 
tic self-dcvotion_tcMhp  flailflp  r>rthpir  rniiptry.  The  very  object 
of  a  liberal  education  is  to  qualify  men  for  filling  the  most  re- 
sponsible situations  in  society.  Responsible  situations  are  al- 
ways those  of  dicrnifry.  and  as  such  demand  ^elevation  of  flliaix. 
acter ;  but  it  is  an  e  s  t  a  b  I  is  h  c<L  a  siom .  that  no  man  is  capable  of 
commanding  who  has  not  first  learned  to  obey.  Such  self-con- 
trol as  leads  to  promptitude  of  effort,  punctuality,  and  a  regular 
distribution  of  time,  is  a  primary  object  of  all  systems  of  edu- 
cation. The  writer  has  accordingly  been  gratified  in  his  labors, 
by  finding  that  the  more  thorough  the  discipline  he  proposed, 
the  greater  was  the  satisfaction  of  the  students.  They  have 
shown  their  approval  of  the  principle,  that  to  require  of  them 
their  highest  manly  energies,  and  to  accept  of  nothing  lower, 
is  not  only  to  be  most  faithful  to  them  as  an  instructor,  but  to 
treat  them  with  the  truest  respect. 


30 


PLAN    OF    INSTRUCTION. 


THE  essential  principles  o^he  mode  of  instruction  developed 
in  this  work  are  the  following  : 

First.  At  no  time  to  require  of  the  learner,  that  which  it  is 
not  reasonably  natural  and  easy  for  him  to  do. 

Secondly.  Faults  that  experience  has  shown  to  be  liable  to 
occur  in  speaking,  are  as  far  as  possible  to  be  anticipated  and 
prevented.  But  when  faults  actually  occur,  the  learner  is  not 
to  be  expected  to  improve  by  simply  endeavoring  to  avoid  them, 
but  on  the  contrary  is  to  have  set  before  him  some  method  of 
practice  which  cultivates  a  mode  of  delivery  exactly  the  opposite 
of  the  faults.  It  is  likewise  intended  that  such  modes  of  speak- 
ing shall  each  exemplify  one  of  the  various  natural  styles  of  de- 
livery. Some  natural  style  of  speaking  can  always  be  found, 
the  practice  of  which  will  cure  the  faults  that  are  liable  to  at- 
tend attempts  to  speak  in  other  styles. 

Faults  may  indeed  be  corrected  by  simply  endeavoring  to 
avoid  them  ;  but  this  process  is  apt  to  produce  at  best  but  a  nega- 
tive merit.  The  effect  is  even  worse.  It  chills  and  checks  the 
development  of  positive  excellence,  and  thus  becomes  a  serious 
hindrance  to  bringing  forth  the  natural  capabilities  for  eloquence 
in  the  speaker. 

Thirdly.  In  all  instruction  and  practice,  to  keep  in  mind 
the  distinction  between  a  mere  exhibition  of  adherence  to  rules 
of  elocution,  and  a  genuine  and  living  eloquence.  The  one  is 
to  be  so  managed  as  to  assist  rather  than  obstruct  the  other.* 

*  Vide  Whately's  Rhetoric,  part  fourth. 


PLAN     OF    INSTRUCTION.  31 

Not  to  attempt  to  do  more  by  rules  than  they  are  capable  of 
effecting.  To  depend  on  the  student's  own  energy  and  enthu- 
siasm for  that  degree  of  success  that  does  full  justice  to  his 
powers.  In  delivery,  as  in  composition,  the  most  interesting 
things  will  be  original  and  not  derived  from  a  teacher. 

The  question  will  naturally  arise  in  the  mind  of  the  student, 
how  great  a  proficiency  in  speaking  he  may  be  able  to  attain, 
by  attending  faithfully  to  the  tasks  proposed  in  the  following 
course  of  instruction.  The  answer  will  be  found  in  the  schemes 
of  the  lessons  for  the  several  terms  of  the  Sophomore  and  Junior 
years.  Those  lessons  have  been  satisfactorily  tried  with  differ- 
ent classes,  and  require  nothing  more  than  experience  has 
shown  to  be  within  the  power  of  the  great  majority  of  each  suc- 
cessive Sophomore  and  Junior  class.  The  body  of  the  work  is 
to  be  studied  and  practised  by  the  Freshman  class,  and  provides 
for  every  difficulty  that  is  met,  in  attempting  the  courses  of 
lessons. 

Another  question  likewise  requires  an  answer.  How  much 
time  should  be  taken  from  other  studies,  in  order  to  acquire  the 
art  of  speaking  1  It  is  the  sincere  opinion  of  the  writer,  that  no 
diminution  need  be  made  in  the  amount  of  time  devoted  to  any 
other  branch  of  a  College  course  of  study.  Any  such  abstrac- 
tion of  time  may  even  retard  improvement  in  elocution.  As  an 
instructor,  the  writer  has  uniformly  found  the  best  scholars  and 
the  hardest  students  in  the  severer  branches,  to  have  the  most 
time  at  their  command  for  receiving  private  instruction,  and 
that  too  in  lessons  not  required  as  a  part  of  the  regular  course. 
The  plan  of  giving  half  lessons  to  the  Freshman  class,  on  the 
days  when  they  attend  to  elocution,  has  been  faithfully  tried  by 
the  Tutors,  and  found  productive  of  as  much  injury  as  benefit. 
Private  practice  without  the  company  of  an  instructor,  is  in- 
deed absolutely  necessary,  but  it  need  not  on  an  average,  occupy 
more  than  a  few  minutes  each  day — and  as  this  is  one  of  the 
most  healthful  and  agreeable  of  bodily  exercises,  it  may  be  re- 


32 


PLAN     OF    INSTRUCTION. 


sorted  to  as  a  substitute  for  the  dumb  bells  during  ordinary  short 
intervals  of  relaxation  from  study.  Those  however,  who  wish  to 
acquire  a  powerful  voice,  smoothly  pleasant  in  its  tone,  can  only 
succeed  by  occasionally  resorting  for  exercise  to  a  walk  and 
declaiming  in  the  open  air.  In  this  kind  of  practice  it  will  be 
useful  to  spend  from  a  quarter  of  an  hour,  to  two  or  three  hours 
at  a  time. 

Finally,  for  the  sake  of  lightening  the  instructor's  labor  it 
will  be  well  to  state,  that  the  plan  of  the  following  course  is  dia- 
metrically opposite  to  that  alluded  to  in  the  well  known  lines  of 
Pope,— 

"  True  grace  in  writing  comes  from  art,  not  chance, 
As  those  move  easiest,  who  have  learned  to  dance." 

In  this  maxim  it  is  assumed  that  natural  ease  and  grace  of  car- 
riage, are  best  cultivated  by  practising  the  artificial  movements  of 
dancing.  Whether  such  doctrines  be  true  or  false  we  shall  not 
attempt  to  discuss — nor  consider  to  what  extent  and  in  what 
mode  this  principle  may  be  applied  in  education.  It  will  be 
sufficient  to  mention,  that  in  the  following  course  not  a  precept 
or  lesson  is  founded  on  any  such  doctrine.  On  the  contrary,  it 
will  be  an  invariable  rule,  to  require  nothing  that  shall  not  be 
natural,  practical,  and,  to  a  sensible  person,  agreeable. 


33 


PART    I. 

GENERAL   HABITS  IN  DELIVERY. 

THE  chapters  in  this  part  of  the  work,  contain  that  informa- 
tion which  the  author,  in  his  daily  labors,  finds  necessary  to  give 
at  one  time  or  another,  to  nearly  every  one  whom  he  instructs. 
Having  entered  upon  an  independent  investigation  of  the  ac- 
tual conditions  of  the  mind,  and  of  the  nervous  and  muscular 
systems  of  the  body,  in  all  the  varieties  of  delivery,  he  has 
been  in  the  habit  of  treasuring  in  his  memory,  and  making  use 
in  instruction,  of  every  fact  which  he  has  observed.  Incessant 
employment  of  these  facts  has  kept  them  fresh  in  his  mind,  and 
enabled  him  to  state  them  in  conversation  with  pupils,  with  suf- 
ficient precision  to  enable  them  to  appreciate  their  value. 
Whether  he  shall  succeed  in  making  them  equally  clear  in  print, 
is  doubtful.  When  giving  instruction,  however,  his  habit  is  to 
state  them  briefly,  and  then  immediately  to  exemplify  them  by 
speaking  a  few  words  himself.  The  student  is  directed  never 
directly  to  imitate  his  instructor,  but  to  notice  the  sort  of  exer- 
tion that  he  makes  in  order  to  attain  such  a  (Duality  in  delivery 
as  is  under  consideration.  The  student  then  makes  the  same 
sort  of  exertion  himself.  In  this  way  his  delivery  remains  as 
original  and  natural  as  if  he  had  received  no  instruction.  This 
is  a  great  point  to  gain.  Though  the  writer  has  no  natural 
turijJorjiiimicry,  and  has  never  cultivated  the  elocution  requi- 
red for  the  theatre,  yet  he  finds  no  difficulty  in  imitating  a  pu- 
pil in  a  sufficient  degree  to  exemplify  a  .fault,  without  causing 
him  any  mortification.  Such  imitations  are  not  of  the  nature 
of  mimicry.  They  are  effected  by  means  of  intense  sympathy 

4 


34  GENERAL     HABITS     IN     DELIVERY. 

with  the  person  imitated,  and  by  putting  one's  self  into  the 
same  state  of  mind  and  feeling.  It  should  never  be  forgotten, 
that  every  good  or^ bad  quality  of  delivery  results  in  its  ultimate 
cause,  from  some  habitual  or  accidental  state  of  mind.  Often, 
however,  the  immediate  cause  is  some  unfortunate  bodily  habit, 
which  prevents  the  inward  impulses  of  the  mind  from  produ- 
cing a  natural  outward  expression  through  the  medium  of  voice 
and  gesture.  On  this  account  it  would  be  not  inappropriate  to 
call  this  first  part  of  the  present  work,  the  physical  part  of  elo- 
cution. 

The  requisites  of  delivery  treated  in  this  part  of  the  volume, 
should  be  habitual.  When  the  habits  are  once  formed,  the  stu- 
dent should  give  himself  no  further  concern  about  them,  but  in 
all  his  subsequent  progress,  yjpl^  frimsplf  fearlessly  to  the  ap- 
propriate impulses  of  his  subject,  and  of  the  time,  place  and  oc- 
casion. In  fact  when  they  are  established,  the  student  is  from 
that  time  during  the  rest  of  his  life,  a  speaker.  They  are  nev- 
er lost,  even  when  not  called  into  use  by  the  practice  of  speak- 
ing. Indeed,  most  persons  will  even  improve  in  them,  simply 
in  conscience  of  that  continued  development  of  mind  which 
results  from  the  influences  of  society. 


CHAPTER  I. 

ATTITUDE     AND     GESTURE. 

THE  purposes  of  this  work  require  that  attitude  and  gesture 
be  treated  of  very  briefly.  A  teacher  can  insure  good  habits 
in  these  respects,  in  but  one  of  two  ways.  First,  he  may  de- 
vote a  very  large  amount  of  time  to  the  subject,  and  not  only 
patierUly_w_atch  and  correct  every  fault  that  he  observes,  but  al- 
so drill  those  whom  he  instructs  in  a  long  series  of  exercises 


ATTITUDE  AND  GESTURE.  35 

for  the  purpose.  Secondly,  he  may  explain  and  illustrate  the 
general  principles  of  both,  and  then  leave  good  habits  to  be 
formejjbyjhainfliiejice-of  ihe  ftatural  impulses  which  prompt 
the  various  attitudes  and  gestures,  at  times  when  the  mind  is  in 
a  felicitous  state  of  excitement  from  the  delivery  of  eloquent 
composition. 

The  latter  is  the  mode  adopted  in  this  institution.  The  learn- 
er is  advised  never  to  practice  speaking  without  at  the  same  time 
standing  in  an  easy  and  yet  spirited  and  manly  attitude,  and 
likewise  indulging  his  natural  propensity  to  make  those  gestures 
which  assist  the  voice  in  being  earnest  and  expressive. 

Instead  of  being,  as  some  suppose,  the  most  difficult,  these 
are  the  easiest  parts  of  delivery.  The  directions  which  will 
presently  be  given,  are  all  that  are  found  necessary  for  young 
men  who  have  passed  the  period  of  school  instruction,  and  who 
feel  a  natural  interest  in  appearingjnanly  and  graceful. 

If  a  few  unimportant  faults  in  attitude.gr  gesture  .accompany 
the  first  efforts,in  spjeaking,  while  at  the  same  time  the  speaker 
is  in  general  correct  in  these  respects,  they  commonly  proceed 
from  the  want  of  that  perfect  self-possession  and  ease,  which 
continued  practice  will  be  sufficient  to  secure.  In  this  case  if 
the  speaker's  voice  is  constantly  growing  more  natural  and  ex- 
pressive, his  attitudes  and  gestures  will  generally  be  found  to 
improve  with  equal  rapidity,  so  that  it  will  be  unnecessary  for 
the  teacher  to  make  any  corrections. 

When  a  speaker  is  satisfied  that  he  has  undesirable  faults  of 
awkwardness  or  formality  of  gesture,  it  is  better  for  him  to  drill 
himself  privately  in  correcting  them,  than  to  ask  an  instructor 
to  do  it  for  him.  He  can  thus  not  only  escape  from  the  awk- 
wardness of  being  drilled  in  such  things  by  another,  but  will  be 
able  to  improve  more  rapidly.  When  entirely  alone,  he  can 
with  ease  and  pleasure  watch  his  internal  feelings  of  spirit.  en- 
thusiasm and  grace,  in  respect  to  these  things.  Such  feelings 
are  not  only  the  true  cause  of  excellence  in  attitude  and  ges- 
ture, but  likewise  are  our  on]y_trjie_£uide  and  authority  forjhem. 


36  GENERAL     HABITS     IN     DELIVERY. 

It  will  neither  be  necessary  nor  useful  to  practice  before  a 
mirror.  The  cultivation  of  feelings  of  grace,  freedom  and  un- 
restrained  earnestness,  such  as  are  easily  indulged  when  prac- 
tising entirely  alone,  may  be  made  use  of  to  far  better  purpose. 

One  fundamental  principle,  however,  must  never  be 
neglected,  that  attitude  and  gesture  are  inseparably  con- 
nected with  respiration  and  the  expression  of  the  voice. 
Those  who  study  them  separately,  will  be  liable  to  be- 
come theatrically  awkward. 

ATTITUDE. 

As  the  varietieajoJLaUitude  spring  from  the  feelings  that  ao 
company  the  words  that  are  spoken,  and  if  no  bad  habits  in- 
tervene, are  always  correct  when  the  speaker's  voice  is  suffi- 
ciently natural  and  expressive,  it  will  be  unnecessary  to  study 
them  systematically.  All  that  needs  to  be  done  is  to  correct  or 
prevent  any  important  faults  in  the  general  habit  of  standing. 

When  the  speaker  is  first  commencing,  let  the  attitude 
express  a  composed  and  collected  state  of  mind,  and  a 
natural  ease.  The  only  effectual  mode  of  securing  this, 
is  by  taking  care  to  have  a  feeling  of  ease,  steadiness 
and  composure. 

'  The  feet  must  be  so  near  each  other,  that  the  body 
shall  not  lean  to  the  one  side  or  the  other. 
V  The  weight  of  the  body  must  rest  on  one  leg,  with  a 
slight  settling  at  the  hip. 

*>  The  knee  of  the  limb  on  which  the  body  is  not  rest- 
ing, must  be  suffered  to  relax  and  bend. 
M  The  breast  is  to  be  thrown  forward,  and  the  shoulders 
drawn  backward. 
£  The  head  should  be  held  erect  and  easy. 


ATTITUDE.  37 

An  exact  position  of  the  feet  should  be  avoided.  In  the  at- 
titudes of  ease  and  composure,  the  heels  will  be  two  or  three 
inches,  and  the  toes  six  or  eight  inches,  apart.  The  figures  of 
attitude  in  the  "  Chironomia,"  a  large  quarto  volume  on  this 
subject  by  Austin,  a  teacher  of  elocution,  about  fifty  years  since, 
in  Dublin,  give  various  positions  of  the  feet  according  to  diffi- 
cult and  artificial  rules.  These  have  been  extensively  copied 
in  books  on  elocution.  Yet  on  inspection,  we  shall  find  the  at- 
titudes which  they  produce  as  unnatural  as  they  are  ungraceful. 
The  figures  lean  as  if  they  were  falling  to  one  side  or  the  other. 
The  only  good  authorities  on  this  subject,  are  the  works  of  the 
great  masters  in  painting  and  sculpture. 

In  earnest  address,  the  body  should  generally  lean  for- 
ward, for  a  time,  on  the  right  foot,  while  the  left  falls  a 
little  behind.  The  very  attitude  thus  expresses  earae&U 
ness  and  bespeaks  sympathy. 

The  worst  fault  in  attitude  is  observable  in  those  who  exhibit 
a  weak  and  bombastic  delivery.  Such  lean  backwards,  i^feiead 
of  inflecting  the  body  earnestly  towards  their  audience.  They 
likewise  throw  back  the  head.  One  who  in  earnest  address, 
leans  forward  towards  his  audience,  will  not  be  liable  to  serious 
faults  of  attitude. 

Common  propriety  of  manners  requires  that  when  a  speaker 
is  about  to  make  a  formal  address,  (except  in  the  ordinary  ser- 
vices of  the  pulpit,)  he  salute  the  audience,  or  the  chairman  of 
the  meeting,  with  such  a  bow  as  is  customary  in  society.  The 
rules  for  this  are  the  same  as  on  ordinary  occasions  in  private 
life.  If  propriety  requires  that  the  chairman  receive  a  saluta- 
tion of  reverence  and  ceremonious^  respect,  let  the  bow  be  low. 
But  in  other  cases,  it  need  be  but  slight.  All  the  direction  ne- 
cessary to  prevent  awkwardness  in  bowing,  is  that  the  whole 
body  be  flexible,  and  the  shoulders  be  not  kept  back.  If  the 
shoulders  are  suffered  to  relax,  the  arms  will  fall  forward,  ac- 

4* 


38  GENERAL     HABITS     IN     DELIVERY. 

cording  to  the  common  rule.  A  bow  should  always  be  made 
with  a  deliberate  ease.  Suddenness  of  bending,  gives  an  as- 
pect of  timidity,  and  is  apt  to  be  accompanied  with  a  quick  re- 
bound of  the  body,  which  has  a  bad  effect.  If  a  bow  is  very 
low,  the  eyes  are  cast  down ;  but  if  slight,  they  are  steadily  fixed 
on  the  person  or  persons  saluted.  In  bowing  moderately  to  a 
large  audience,  the  eyes  look  steadily  towards  the  more  distant 
part  of  the  assembly.  When  the  person  who  salutes  by  a  bow, 
is  so  situated  that  his  feet  are  visible,  it  is  necessary  to  let  the 
heel  of  one  foot  meet  the  hollow  of  the  other,  at  the  time  that 
the  body  bends.  This  is  done  in  two  ways — most  formally,  by 
drawing  the  heel  of  one  foot  into  the  hollow  of  the  other — less 
formally,  by  stepping  slightly  forwards  with  one  foot,  and  then 
suffering  the  hollow  of  the  other  to  fall  against  the  heel  of  the 
foot  in  advance.  The  reason  why  in  bowing  according  to  these 
common  rules,  the  heel  of  one  foot  comes  into  the  hollow  of  the 
other,  is  that  with  this  position  the  base  upon  which  the  weight 
of  the  body  rests  is  made  so  small,  that  the  bending  is  natural 
and  almost  unavoidable.  There  are,  however,  a  few  slight  va- 
riations from  this  position  of  the  feet,  which  graceful  persons 
often  exhibit ;  and  when  such  proceed  from  ease  and  compo- 
sure, they  produce  no  ill  effect.  Ceremonious  and  submissive 
bows  are  also  sometimes  made  by  retreating  instead  of  advancing. 

EXAMPLES    FOR    PRACTICE    OF    ATTITUDE    AND    SALUTATION. 

Mr.  President !  Mr.  Chairman  ! 

Gentlemen  of  the  Jury  !  Gentlemen  ! 

Romans,  countrymen  and  lovers!    My  countrymen  ! 

My  brave  associates  !  partners  of  my  toil,  my  feelings 
and  my  fame ! 

Friends,  Romans,  Countrymen !  lend  me  your  ears. 

Most  potent,  grave  and  reverend  Seniors !    My  very 
noble  and  approved  good  masters ! 


GESTURE.  39 

Sad,  my  fellow  citizens !  are  the  recollections  and  fore- 
bodings, which  the  present  solemnities  force  upon  the 
mind ! 

In  the  above  examples  the  common  rule  of  punctuation  has 
been  followed,  which  marks  the  nominative  independent,  of  ad- 
dress, by  an  exclamation  point.  When  the  tone  of  address  is 
grave  and  formal,  and  with  a  decided  pause  following,  the  fall- 
ing inflexion  of  the  voice  is  required  at  the  end ;  but  when  the 
address  is  more  familiar,  or  if  it  is  with  considerable  excite- 
ment, the  rising  inflexion  is  more  commonly  used. 

GESTURE. 

The  most  common  as  well  as  most  important  of  all  the  ges- 
tures that  are  used,  is  that  of  appeal  and  enforcement.  This 
should  be  carefully  studied  and  practiced.  When  the  habit  is 
once  formed  of  using  it  with  grace,  spirit  and  variety,  no  awk- 
wardness will  be  exhibited  in  the  infinite  variety  of  others  that 
spring  from  imagination  and  feeling. 

It  is  necessary  to  consider  this  gesture  with  care.  The  plate 
prefixed  to  this  volume  is  intended  to  illustrate  the  attitude,  and 
the  position  of  the  arm  and  hand,  of  one  who  by  his  very  aspect 
bespeaks  the  attention  of  an  audience,  and  is  prepared  to  ex- 
plain and  enforce  with  spirit  and  grace  what  he  is  about  to 
utter.  The  erect  yet  easy  attitude  expresses  composi""^  and  a 
mind  collected  and  concentrated  on  the  subject  and  audience. 
The  open  and  presented  palm  of  the  hand  appeals  to  the  minds 
of  those  addressed,  while  the  arm  raised  and  brought  forward 
without  relaxing  the  elbow,  expresses  freedom  of  impulse  and 
a  confident  appeal  to  sympathy. 

The  fundamental  principle  of  every  gesture  is  SIGNIFI- 
CANCE. This  may  be  either  of  some  wish  or  effort  con- 
nected with  the  understanding,  or  of  some  state  of  im- 
agination or  feeling. 


40  GENERAL     HABITS     IN     DELIVERY. 

The  gestures  that  spring  from  the  latter  source,  are  cultiva- 
ted by  abandoning  one's  self  freely  to  every  such  impulse. 
Those  of  feeling  are  a  part  of  the  natural  language  of  emotion 
or  passion,  and  all  rules  for  them  are  worse  than  useless.  The 
gestures  of  imagination  either  point  to  some  image  present  to 
the  mind  of  the  speaker,  and  thus  direct  and  assist  the  imagina- 
tions of  the  audience,  or  they  slightly  depict  the  visual  outlines 
of  such  images,  and  in  this  way  render  the  auditors  still  greater 
assistance.  These  likewise,  are  as  various  as  the  images  to 
which  they  direct  attention,  and  the  attempt  to  reduce  them  to 
rule  is  evidently  absurd. 

The  gestures  that  assist  a  speaker  in  explaining  and  enforcing 
thought,  can  be  reduced  to  a  few  general  classes.  Yet  when 
thus  classified  they  will  be  found  very  numerous,  and  their  ex- 
planation intricate  and  tedious.  But  even  if  this  be  done,  and  a 
student  be  patiently  and  perseveringly  drilled  in  them,  there 
will  be  great  danger  of  his  becoming  artificial  and  formal,  and 
of  exhibiting  what  is  one  of  the  most  disagreeable  of  all  faults, 
an  appearance  of  having  been  long  occupied  in  imitating  a 
model,  or  endeavoring  to  put  in  practice  a  set  of  rules. 

All  that  is  finally  necessary  after  awkward  habits,  if  any  such 
exist,  have  become  corrected,  is  to  make  gestures  significant; 
first,  of  our  wish  to  communicate  and  explain  our  ideas ;  second- 
ly, of  an  effort  to  appeal  to  the  assent  and  sympathy  of  those  we 
address;  and  thirdly,  of  an  intention  to  enforce  occasionally  the 
truth  or  importance  of  what  we  assert. 

But  five  rules  are  necessary  for  establishing  good  habits  in 
the  common  gesture  of  appeal  and  enforcement.  (Vide  the 
plate.) 

I.  Let  the  open  palm  always  be  presented  to  the  part 
of  the  audience  addressed. 

To  effect  this,  bend  back  the  wrist  as  much  as  possi- 
ble without  a  violent  strain. 

Open  and  bend  back  the  thumb  and  forefinger. 


GESTURE.  41 

Let  the  other  fingers  remain  slightly  bent  in  a  natural 
and  easy  manner. 

With  some  persons,  these  naturally  remain  nearly  straight 
and  almost  in  the  same  plane  with  the  forefinger.  With  others 
they  are  more  or  less  bent.  No  precise  rule  is  needed  in  re- 
spect to  this  point. 

2.  Raise  the  arm  directly  from  the  shoulder,  without 
bending  the  elbow. 

The  height  to  which  the  arm  is  raised,  must  correspond  to 
the  distance  of  the  persons  to  whom  the  voice  is  addressed  and 
to  whom  the  eyes  are  directed.  If  they  are  towards  the  ex- 
tremity of  a  large  room,  the  hand  must  not  be  lower  than  the 
shoulder  or  upper  part  of  the  breast.  When  we  are  speaking 
to  persons  very  near,  it  is  somewhat  lower,  but  in  this  case  the 
body  also  bends  more  or  less  forward. 

3.  Bring  the  arm  well  forward  towards  the  persons 
addressed. 

Do  not  suffer  it  to  extend  laterally  from  the  body.  This 
makes  the  gesture  unmeaning,  by  taking  away  its  expression  of 
appeal.  It  should  be  brought  at  least  forty  five  degrees  forward. 

4.  Let  all  the  muscles  of  the  arm  be  in  a  state  of  ten- 
sion, corresponding  to  a  spirited  and  animated  state  of 
mind. 

Graceful,  to  say  nothing  of  forcible  gestures,  cannot  possibly 
be  executed,  when  the  muscles  are  slack.  If  these  are  not  stiff- 
ened and  kept  tense,  the  elbow  will  drop  and  the  motions  be  ex- 
tremely awkward.  Even  in  an  easy  and  animated  attitude,  the 
principal  muscles  of  the  body  are  in  the  same  state.  The  atti- 
tude will  otherwise  express  not  ease  but  laziness. 

The  true  guide  for  the  state  and  position  of  the  arm,  is  to 
have  in  it  a  feeling  of  spirit  and  expression  corresponding  to 
that  given  by  the  voice.  This  causes  the  motions  of  the  arm 
and  wrist  to  be  slow,  graceful,  significant,  and  expressive. 


42  GENERAL     HABITS     IN     DELIVERY. 

5.  Let  the  stroke  of  gesture  which  falls  on  an  em- 
phatic word,  be  effected  in  most  cases  by  a  sudden  stiff- 
ening of  the  muscles  of  the  whole  arm  without  bending 
the  elbow. 

The  elbow  will  indeed  be  very  slightly  bent,  but  an  effort 
should  be  made  to  have  the  arm  move  exclusively  from  the 
shoulder,  rather  than  to  bend  at  the  elbow.  This  direction 
prevents  what  is  described  by  Hamlet,  in  the  precept,  "do 
not  saw  the  air  too  much  with  the  hands."  What  is  called  by 
audiences  too  much  gesture,  consists  in  indulging  the  arm  in 
motions  that  are  at  the  same  time  frequent  and  extensive. 
Those  who  gesture  most  gracefully,  keep  one  or  both  arms  ex- 
tended a  great  part  of  the  time,  but  make  but  few  motions  that 
attract  attention.  In  fact  the  finest  style  of  giving  attitudes  and 
gestures,  consists  in  a  series  of  positions  of  the  body,  arms  and 
hands,  which  remain  unchanged  for  an  appreciable  period  of 
time,  while  each  presents  a  fine  study  for  a  painter  or  sculptor. 

There  is  an  exception  to  the  last  rule,  when  there  is 
a  peculiarly  deliberate  emphasis  on  a  single  word.  In 
this  case  the  elbow  is  deliberately  bent,  the  hand  is 
raised,  (sometimes  higher  than  the  head,)  and  then 
brought  down  in  the  stroke  as  low  as  the  waist. 

When  the  arm  falls  to  the  side  after  gesturing,  let  it 
drop  naturally  and  unconsciously. 

Those  who  are  first  beginning  to  practice  speaking,  generally 
make  too  many  gestures  It  is  useless  to  attempt  to  prevent 
this  fault  by  speaking  several  lines  at  a  time  with  both  arms 
hanging  at  the  sides  as  if  withered.  This  custom  is  not  only 
unnatural  as  respects  gesture,  being  one  which  is  never  exhib- 
ited for  a  moment  by  an  interesting  extemporaneous  speaker, 
but  makes  it  impossible  for  the  speaker  to  employ  varied  and 
impressive  tones  of  voice.  The  fault  under  consideration  pro- 
ceeds always  from  want  of  self-command  and  steadiness,  and 


GESTURE.  43 

can  be  prevented  only  by  avoiding  its  cause.  When  however, 
too  many  gestures  are  made,  the  speaker  generally  drops  his 
arm  too  often.  He  raises  it  for  a  single  stroke  on  an  emphatic 
word  and  then  immediately  lets  it  fall.  It  is  this  frequent  ris- 
ing and  falling  of  the  arm  that  attracts  and  offends  the  eye. 

It  should  be  a  rule,  therefore,  that  when  the  arm  is 
once  raised,  it  be  kept  for  some  short  time  in  the  air, 
and  with  the  hand  in  the  position  of  appeal. 

So  likewise  in  a  succession  of  gestures,  the  arm  should  not 
drop  when  one  has  been  given,  and  then  be  raised  again  for  the 
next.  After  making  a  stroke,  the  arm  should  remain  in  the 
position  of  appeal,  or  in  that  in  which  it  was  left  by  the  last 
gesture,  and  then  be  transferred  to  the  next. 

In  speaking  passages  not  distinguished  by  force  of 
language  or  sentiment,  the  arm  is  often  for  a  short  time 
at  the  side.  But  in  this  case  those  who  are  graceful  and 
interesting,  always  give  such  inflexions  of  the  body 
as  continue  the  exhibitions  of  appeal  and  sympathy, 
which  the  arm  and  hand  express  in  more  earnest  pas- 
sages. £ 

So  when  the  arm  and  hand  are  employed,  the  body  assists 
also  in  the  gesture  by  its  flexibility.  It  should  never  be  stiffly 
braced,  so  as  to  cause  the  whole  expression  of  a  gesture  to  pro- 
ceed from  the  motion  of  the  arm. 

The  question  is  often  asked,  What  shall  be  done  with  the  left 
arm  1  When  the  right  arm  is  expressively  engaged,  and  the 
body  is  kept  flexible  and  suffered  to  assist,  the  left  naturally 
hangs  passive  at  the  side.  It  should  not,  except  sometimes  in 
the  most  familiar  and  conversational  debate,  be  suffered  to  rest 
on  the  hips,  with  the  elbow  akimbo,  nor,  except  in  the  same  cir- 
cumstances, be  placed  in  the  bosom.  In  earnest  or  grave  de- 
livery it  naturally  hangs  passive.  Any  other  position  makes 
the  atttitude  of  the  body  stiff  and  inflexible,  and  prevents  the 


44  GENERAL     HABITS     IN    DELIVERY. 

grace  of  varied  bodily  inflexions.  On  no  occasion  should  it  be 
placed  behind  the  back.  To  rest  it  thus,  renders  the  attitude 
awkward  by  stiffening  the  back  in  the  worst  manner.  To  raise 
the  skirts  of  the  coat  with  the  left  arm,  will  be  in  the  case  of  a 
young  man,  not  to  treat  the  audience  with  respect,  as  it  is  the 
sole  purpose  of  that  part  of  the  dress,  to  cover  a  dishonorable 
part  of  the  body !  If  in  familiar  and  conversational  speaking 
the  left  hand  be  rested  on  the  hip,  let  care  be  taken  that  the 
elbow  be  carried  back  as  much  as  possible,  in  order  to  diminish 
the  akimbo  effect. 

Should  single  gestures  be  made  with  the  left  arm  and  hand  ? 
It  is  not  worth  while  to  dispute  this  point,  yet  to  use  the  left 
hand  in  gesture  seems  scarcely  more  natural  than  to  offer  it  in 
salutation,  or  to  strike  a  blow  with  it.  The  ancient  Romans 
rarely  or  never  employed  it  on  any  occasion,  in  speaking. 
They  did  not  even  use  gestures  with  both  hands.  Yet  the  rea- 
son commonly  assigned  for  this  total  omission  of  its  use  is  not 
sufficient,  for  it  could  by  no  means  be  necessary  for  them  to 
keep  it  always  occupied  in  supporting  a  part  of  their  dress. 
They  must  have  had  it  in  their  power  so  to  support  the  toga 
that  it  should  not  fall,  as  well  in  this  as  in  other  situations. 
When  wearing  the  toga,  they  were  not  necessarily  one-handed. 

Gestures  that  are  made  with  both  arms  are  the  same  in  kind 
as  those  made  with  the  right  alone.  When  they  are  not  in- 
stinctively employed  to  express  extent  of  space  or  the  univer- 
sality of  an  idea,  they  are  generally  used  to  assist  in  expressing 
a  climax  of  thought.  After  repeating  several  strokes  of  gesture 
in  enforcing  a  series  of  emphatic  ideas,  both  arms  are  raised 
towards  the  close  to  produce  a  climax  of  effect.  The  stroke  is 
made  by  both  arms  simultaneously,  in  the  same  way  as  by  the 
right  alone. 

Variety  in  the  repetition  of  the  common  gesture  of 
appeal  and  enforcement,  is  effected  by  successively 
changing  the  place  of  the  hand  in  the  air. 


GESTURE.  45 

To  acquire  the  most  graceful  habits  of  gesture,  the  arm  must 
be  practised  in  making  a  greater  part  of  its  motions  in  a  side- 
way  direction,  instead  of  directly  up  and  down.  In  doing  this, 
especial  attention  must  be  paid  to  cultivating  flexibility  of  side- 
way  motion  in  the  wrist.  The  hand  should  be  turned  over  so 
as  to  bring  the  palm  uppermost,  and  while  it  is  well  bent  back, 
and  the  thumb  and  forefinger  fully  opened,  the  wrist  should  be 
fully  practised  in  significant  and  expressive  motions  made  later- 
ally. The  gesticulations  thus  made  by  the  hand  moving  at  the 
wrist,  are  the  same  that  we  continually  give  in  earnest  conver- 
sation. The  only  difference  in  their  employment  when  we  are 
speaking,  is  that  we  execute  them  while  the  arm  is  extended ; 
whereas  in  conversation  the  elbows  remain  at  the  sides,  and  the 
hands  are  just  in  front  of  the  body.  Cultivating  these  expressive 
motions  in  speaking,  adds  much  to  grace  and  interest  of  action. 

In  passages  of  argument  and  explanation,  some  speakers  em- 
ploy a  style  of  gesture  in  which  the  arm  is  most  of  the  time  ex- 
tended, but  the  elbows  are  near  the  sides,  and  frequent  and  va- 
ried gesticulations  are  made  by  one  or  both  hands  in  front  of 
the  body.  This  is  an  excellent  and  agreeable  style  of  action, 
but  is  difficult  to  teach,  and  seems  not  to  be  natural  to  all. 
Those  who  instinctively  incline  to  employ  it,  will  do  well  to 
cultivate  its  habitual  use. 

EXAMPLES    FOR   PRACTISING    GESTURE. 

The  following  example  requires  a  forcible  delivery,  and  great 
earnestness  of  action. 

I  MAKE  THE  ASSERTION  (arm  gradually  rising)— DELIBERATELY. 
(stroke  without  bending  the  elbow — then  letting  the  arm  re- 
main in  the  position  the  stroke  left  it  in.) 

I  REPEAT  IT,  (raising  the  arm,  bending  the  elbow,  and  bringing 
down  a  forcible  stroke  on  the  last  syllable  of  repeat — letting 
the  arm  remain  where  it  was  left  by  the  stroke.) 

5 


46  GENERAL    HABITS    IN    DELIVERY. 

AND  I  CALL  UPON  ANY  MAN  WHO  HEARS  ME  (sideway  wave  of 
the  whole  arm,  and  with  a  flexible  wrist — the  hand  being 
turned  palm  uppermost.) 

\ 

TO  TAKE  DOWN  MY  WORDS,  (arm  brought  forwards— stroke  of  ges- 
ture brought  down  low — inflexion  of  the  body,  and  an  earnest 
look — the  arm  then  drops  suddenly  and  unconsciously.) 

The  next  example  requires  also  great  earnestness  of  voice 
and  action. 

SlR  !    (look  and  erect  attitude)    THE  DECLARATION    (earnest   look, 

but  no  gesture.) 
WILL  INSPIRE  THE  PEOPLE    (arm  raised  from  the  shoulder— palm  of 

the  hand  making  a  strong  appeal.) 

\ 

WITH  INCREASED  COURAGE  ;  (inflexion  of  body,  and  ear- 
nest stroke  of  the  arm,  made  without  much  bending  of  the  el- 
bow— arm  remaining  in  the  air.) 

INSTEAD  OF  A  LONG  AND  BLOODY  WAR,  (inflexion  of  body,  and 
sideway  motion  of  the  hand  and  arm — a  significant  motion  be- 
ing made  with  the  wrist — the  arm  not  dropped.) 

/ 

FOR  RESTORATION  OF  PRIVILEGES,    (the  arm  brought  forward, 

and  a  forcible  stroke  made  in  a  sideway  and  upward  direction 

— the  wrist  being  very  flexible.) 

/ 
FOR  REDRESS  OF  GRIEVANCES,    (the  same  gesture  repeated— 

but  the  hand  carried  a  little  higher,  for  variety,  and  to  give  a 

gradual  climax.) 
FOR  CHARTERED   IMMUNITIES    (hand  brought  forward  towards  the 

audience,  to  attract  attention  to  the  emphasis  that  is  to  follow.) 

/ 

HELD  UNDER  A  BRITISH  KING,  (earnest  look — stroke  without 
bending  the  elbow — the  arm  carried  sideways  and  upwards — 
the  hand  remaining  high  in  the  air.) 

SET  BEFORE  THEM  THE  GLORIOUS  OBJECT  (hand  brought  down  a 
little,  and  stretched  forward  in  earnest  appeal.) 


VOICE.  47 

OF  ENTIRE  INDEPENDENCE,  (hand  slowly  raised  on  the 
word  entire — the  elbow  bending — then  a  sudden  stroke  on  the 
accented  syllable  of  independence — the  arm  remaining  in  the 
air.) 

AND    IT    WILL    BREATHE    INTO    THEM    ANEW     (attitude  brought  up 
very  erect — the  breast  swelling  out — both  arms  and  hands  pre- 
sented in  earnest  appeal.) 
\ 

THE  BREATH  OF  LIFE,  (sudden  stroke  of  both  arms  sideways 
and  downwards  on  the  word  life — the  elbows  not  bending — 
look  of  exultation — the  arms  then  drop  unconsciously — the 
speaker  pauses — rests  a  moment,  and  begins  with  a  transition 
of  manner  on  the  next  passage.) 

Remarks  on  the  above  examples. — These  examples  are  given 
as  specimens  of  full  and  unrestrained  earnestness  of  natural 
gesture.  It  will  be  well  carefully  to  study  and  practice  them. 
Those  who  have  once  mastered  the  gestures  described  above, 
will  need  no  more  training  in  this  subject,  and  will  afterwards 
be  liable  to  no  serious  faults  of  action. 

It  must  be  remembered,  that  on  the  same  passage  no  two 
perfectly  natural  speakers  will  ever  gesture  precisely  alike — 
neither  will  a  single  speaker  speak  the  same  passage  with  pre- 
cisely the  same  action  in  different  repetitions,  if  his  manner  is 
in  each  case  perfectly  natural  and  graceful.  It  is  necessary  for 
instructors  however,  to  discipline  themselves  in  the  power  of 
repeating  without  variation. 


CHAPTER  II. 


VOICE . 


Every  one  knows  that  school-boy  tones  in  reading,  and  the 
dull  and  tedious  manner  of  some  speakers,  give  a  sound  to  the 
voice  that  has  little  resemblance  to  the  tones  of  an  eloquent  ex- 


48  GENERAL    HABITS    IN    DELIVERY. 

temporaneous  orator.  It  is  well  known  likewise  to  be  at  first 
difficult,  and  indeed  it  is  too  generally  considered  impossible,  to 
render  a  discourse  that  has  been  written  but  not  committed  to 
memory,  as  interesting  and  eloquent  as  when  a  speaker  is  suc- 
cessfully extemporizing ;  and  that  even  if  the  composition  be 
memorized,  its  delivery  cannot  readily  be  made  as  interesting, 
as  when  the  words  as  well  as  the  tones  proceed  from  a  felicitous 
impulse  of  the  moment. 

The  explanation  of  these  remarkable  differences  in  the  pre- 
vailing sound  of  the  voice,  lies  in  the  fact  that  speaking  to  an 
assembly  is  a  peculiar  act  of  the  mind  and  vocal  organs.  There 
are  three  distinct  ways  of  communicating  thought,  each  of  which 
has  its  peculiar  voice,  as  distinct  from  each  other  as  they  are 
from  singing.  These  are  talking,  speaking,  and  reading. 

In  the  present  chapter  we  shall  consider  the  peculiarities  of 
the  speaking  voice. 

It  is  perhaps  the  general  opinion,  that  speaking  differs 
from  conversation  merely  in  loudness  and  force.  This 
is  not  true.  We  may  talk  with  great  force  of  emphasis, 
with  strong  gestures  and  with  an  extreme  degree  of 
loudness,  and  yet  a  person  overhearing  us  in  another 
room  would  never  mistake  our  tones  for  those  of  a  person 
speaking.  On  the  other  hand,  we  may  speak  with  great 
earnestness  and  force,  and  yet  not  be  sufficiently  loud  to 
be  audible  across  an  ordinary  audience  room.  We  may 
also  speak  in  a  languid  and  uninteresting  manner, — one 
which  is  characterized  by  want  of  emphatic  force,  and 
at  the  same  time  those  who  hear  without  seeing  us  will 
not  be  liable  to  suppose  that  we  are  either  talking  or 
reading. 

These  facts  prove  conclusively  that  speaking  differs 
from  talking  or  reading,  in  the  peculiar  quality  of  voice 
which  it  employs.  In  additional  confirmation  we  may 


VOICE.  49 

mention  that  this  distinction  is  recognized  by  reporters 
of  legislative  assemblies,  inasmuch  as  they  always  dis- 
criminate between  what  is  spoken  in  debate  and  the 
public  conversation  that  frequently  takes  place  among 
the  members  on  the  subject  under  discussion. 

As  stated  in  the  preface,  the  power  of  using  the  speak- 
ing voice  seems  always  to  be  learned  at  some  period  con- 
siderably later  than  childhood.  Those  who  begin  to 
practice  elocution  without  having  previously  gained  the 
power  of  using  this  voice,  by  the  practice  of  declamation 
in  schools  or  by  being  accustomed  to  extemporaneous 
debate,  often  experience  extreme  difficulty  in  attempting 
to  employ  it.  There  have  been  some  who  have  prac- 
tised declamation  throughout  their  college  course,  with- 
out ever  making  use  of  it  throughout  a  whole  sentence. 

There  is  but  one  mode  by  which  a  person  who  is  un- 
accustomed to  its  use  can  at  once  break  into  it.  This  is 
by  suddenly  speaking  to  persons  at  a  great  distance,  with 
an  unhesitating  abandonment  of  earnestness,  and  in  a 
tone  almost  as  loud  as  a  shout.  When  this  experiment 
is  tried,  it  will  be  found  that  the  voice  strikes  into  the 
upper  part  of  the  middle,  or  the  lower  part  of  the  upper 
key,  and  has  a  peculiar  openness  and  fullness,  together 
with  more  or  less  smoothness  of  sound.  There  is  also 
some  degree  of  an  expulsive  and  explosive  utterance. 
The  breath  likewise  issues  more  suddenly  and  rapidly, 
and  appears  to  leave  the  chest  with  less  air  remaining  in 
it,  than  after  uttering  the  same  number  of  words  in  loud 
conversation.  So  too,  when  at  a  pause,  breath  is  taken 
again,  it  is  done  more  suddenly  and  with  deeper  inspira- 
tion. 

5* 


50  GENERAL    HABITS    IN    DELIVERY. 

We  hence  see  the  reason  why  an  oratorical  delivery  is  more 
rapidly  acquired  by  those  who  address  audiences  in  the  open 
air.  The  exertion  that  is  necessary  in  such  situations,  naturally 
brings  a  man  into  the  use  of  the  speaking  voice.  The  excite- 
ment likewise  which  prompts  the  utterance  of  auctioneers,  law- 
yers, and  partisan  debaters,  as  also  the  tumultuous  zeal  of  ig- 
norant enthusiasts,  have  the  same  effect  in  developing  the  voice 
which  we  are  considering. 

Loud  and  vehement  speaking  is  thus  at  first  the  easi- 
est and  most  natural,  and  it  is  well  known  that  in  noth- 
ing do  speakers  improve  more  by  practice,  than  in  the 
power  of  being  audible  and  forcible,  without  breaking 
into  a  discordant  loud  ness. 

It  will  be  well  however  to  remark,  that  at  the  present  time  a 
fashion  seems  to  prevail  among  the  speakers  in  the  northern  and 
eastern  parts  of  the  United  States,  of  studying  to  subdue  the 
natural  loudness  of  their  voices  in  an  extreme  degree.  By  so 
doing,  they  not  only  become  often  indistinct  and  inaudible  to 
those  in  not  very  distant  parts  of  a  room,  but  descend  into  a 
husky  and  unmusical  voice,  such  as  is  not  only  incapable  of  in- 
teresting expression,  but  disagreeably  aspirated  and  obscure. 
By  subduing  the  voice  in  this  artificial  way,  they  likewise  ex- 
hibit a  mechanical  monotony,  which  prevents  the  giving  of  va- 
rious expressions,  for  which  an  increased  degree  of  loudness  is 
natural  and  necessary.  Cheerfulness,  hope,  joy,  triumph,  ad- 
miration, and  many  other  emotions,  have  considerable  loudness 
and  openness  of  tone  for  their  natural  language,  and  cannot 
be  expressed  without  them. 

When  a  speaker  has  thoroughly  disciplined  his  voice  and  ear, 
in  reference  to  adaptation  to  larger  or  smaller  audiences,  it  will 
be  neither  necessary  nor  expedient  for  him  to  give  himself  any 
concern  in  respect  to  the  degree  of  loudness  that  he  may  hap- 
pen to  use.  His  voice  will,  as  it  were,  instinctively  accommo- 


VOICE     AND    RESPIRATION.  51 

date  itself  to  the  room,  and  be  agreeably  audible,  without  lia- 
bility to  offend  the  most  sensitive  nerves  by  excess  of  force, 
while  it  will  perpetually  vary  in  the  loudness  required  for  ex- 
pression, according  to  his  feelings  and  the  dictates  of  propriety. 
Those  therefore  who  wish  to  acquire  command  over  their 
vocal  organs  as  rapidly  as  possible,  must  practise  loud  speaking 
for  a  part  of  the  time.  Instead  however,  of  depending  merely 
on  the  rude  practice  above  described,  in  which  the  voice  ap- 
proximates to  a  shout,  it  will  be  better  to  consider  the  voice  un- 
der the  different  heads  which  follow,  and  to  practise  exercises 
which  cultivate  those  separate  acts,  the  union  of  which  produces 
not  only  the  speaking  voice,  but  that  cultivated  and  musical 
tone  which  characterizes  those  speakers  who  are  not  only  most 
agreeable  to  a  delicate  and  sensitive  taste,  but  who  likewise 
have  an  effective  power  over  the  most  obtuse  and  insensible 
hearers. 

DEPENDENCE    OF   VOICE    ON    RESPIRATION. 

Even  in  the  calmest  and  most  familiar  styles  of  pub- 
lic address,  the  speaking  voice  is  more  dignified  than  in 
ordinary  conversation,  and  may  also  be  rendered  more 
musical  and  expressive.  This  results  from  the  fact  that 
in  all  public  speaking,  the  mind  of  the  speaker  is  more 
or  less  in  an  elevated  and  excited  state.  This  emotive 
and  elevated  state  of  mind  produces  a  corresponding  con- 
dition of  body. 

The  principal  effect  on  the  body  is  a  deeper  breathing. 
Reciprocally  also,  this  deeper  breathing  enkindles  the 
mind  and  excites  the  feelings.  In  strong  emotion  the 
thrill  of  the  mind  renders  the  breathing  so  deep,  as  to 
heave  up  the  breast,  and  send  a  nervous  thrill"  through- 
out the  entire  frame.  So  too  we  may  to  some  extent 
increase  the  intensity  of  a  feeling  that  is  too  languid, 
by  voluntarily  strengthening  its  bodily  expression. 


52  GENERAL     HABITS     IN     DELIVERY. 

The  depressing  emotions  indeed,  such  as  despondency,  diffi- 
dence, or  shame,  make  the  breathing  weaker  instead  of  strong- 
er, and  accordingly  it  is  one  of  our  most  common  instinctive 
resources  when  endeavoring  to  shake  them  off,  to  take  deep 
breathings,  and  make  sudden  and  vigorous  muscular  exertions. 

From  this  connection  of  voice  with  respiration,  we  may  de- 
rive the  most  easy  and  successful  of  the  various  modes  for  culti- 
vating an  improved  degree  of  vocal  power,  depth  and  flexibility. 

On  the  same  principle  also  depends  the  ability  to  speak  with 
ease.  It  is  the  habit  of  not  taking  breath  with  sufficient  fre- 
quency and  fullness,  that,  so  far  as  mere  physical  exertion  is 
concerned,  causes  those  who  address  even  the  largest  audien- 
ces to  become  exhausted. 

This  deep  breathing  furnishes  the  reason  why  in  an  anima- 
ted attitude  the  breast  is  heaved  up  and  thrown  forward,  as  was 
described  in  the  previous  chapter. 

Hence  the  first  lesson  for  acquiring  a  commanding  and  ex- 
pressive voice,  should  be  as  follows. 

Stand  in  attitude  for  speaking  as  has  been  already  de- 
scribed. 

Heave  up  the  chest  by  taking  a  very  deep  breath,  and 
keep  it  in  this  state  by  taking  breath  very  frequently 
during  the  time  of  speaking  a  sentence. 

Never  attempt  to  speak  as  many  words  as  possible  at 
a  breath,  but  on  the  contrary  catch  breath  suddenly  and 
frequently,  as  is  done  by  players  on  wind  instruments. 

Assist  the  vocal  effort  by  voluntarily  taking  on  a  state 
of  excited  and  strong  emotion. 

Aid  the  natural  action  of  the  breast,  by  strong  ges- 
tures of  appeal  with  the  right  arm  or  with  both  arms. 

At  first  students  of  elocution  are  liable  to  suppose  that  depth 
of  tone  and  dignity  of  voice  are  necessarily  connected  with  a 


VOICE     AND     RESPIRATION. 


53 


low  pitch.  For  this  reason  it  will  be  well  to  practise  this  lesson 
on  each  of  the  three  keys  which  will  soon  be  described.  In 
the  examples,  the  words  will  be  divided  into  groups,  after  each 
of  which  breath  should  be  taken. 


EXAMPLE    FOR   PRACTICE. 


(Low  pitch) 


(Higher  pitch) 


Sir! 


\ 
I  know 


the  uncertainty      of  human  affairs. 


\ 


But  I  see,      I  see  clearly 
through  this  day's      business. 


\ 


(A  little  lower  pitch]  You      and/     may  indeed      rue  it. 

(Stia  higher  pitch) 


\ 


We  may  not      live 

to  see  the  time      when  this  declaration 

\ 
shall  be  made  good. 


\ 


(Lower  pitch) 
(Higher) 
(Still  higher) 
(Lower) 
(Still  lower) 

(Stitt  lower) 
(Quite  high) 
(Same  pitch) 

(Middle  key  $  loud) 


We  may  die  : 


\ 


die  colonists,      die  slaves ; 

die,      it  may  be,      ignominiously , 

\ 

and  on  the  sr.affnld. 

\ 
Be  it  so. 

\ 
Be  it  so. 

If  it  is  the  pleasure  of  Heaven, 
that  my  country      shall  require 

the  poor  offering      of  my  life, 

\ 
the  victim      shall  be  ready, 


54  GENERAL    HABITS     IN    DELIVERY. 

/ 

(Less  loud}  at  the  appointed  hour      of  sacrifice, 

/  \ 

(Higher)  come      when  that  hour  may. 

/ 

(Low  key  fy  rising)     But        while  I  do  live, 

\ 

(Middle  key)  let  me  have  a  country, 

/ 
(Rising)  or  at  least,      the  HOPE  of  a  country, 

\ 
(Descending)  and  that,      a  FREE  country. 

Remarks. — The  directions  for  the  changes  of  pitch  in  the 
above  example,  have  been  given  with  reference  to  solemnity 
and  climax.  A  very  different  set  of  directions  might  be  given, 
which  would  perhaps  be  equally  appropriate.  These,  however, 
will  coincide  with  the  tastes  of  all  in  a  sufficient  degree  for  the 
purposes  of  practice.  It  is  not  indeed  necessary  for  elementa- 
ry training  of  the  voice,  to  use  extracts  from  speeches  at  all. 
It  is  equally  useful  to  practise  upon  tables  of  single  words,  such 
as  will  be  hereafter  given  under  the  head  of  articulation. 

VOICE    OR    TONE    OF   ADDRESS. 

It  is  often  observable  that  the  voice  of  a  speaker  does 
not  really  address  the  audience.  It  is  abstracted,  and 
has  precisely  the  same  tone  as  if  there  were  no  auditors. 
Some  likewise  appear  not  to  believe  what  they  say. 
Even  a  soliloquy  should  be  given  with  expressive  ear- 
nestness, when  an  audience  is  present.  Yet  some  speak- 
ers not  only  have  the  tone  of  soliloquy  when  addressing 
their  fellow  beings,  but  even  that  of  merely  repeating 
words  without  interest  in  their  meaning. 

The  practice  of  singing  may  be  made  highly  useful  in  im- 
proving the  voice  for  reading  and  speaking ;  yet  it  is  often  ob- 


VOICE     OR    TONE     OF    ADDRESS.  55 

servable  that  those  who  devote  considerable  time  to  the  practice 
of  singing,  have  a  singularly  lifeless  and  inexpressive  elocution. 

IN  ALL  THESE  CASES  THE  FAULT  PROCEEDS  FROM  BAD 
HABITS  OF  RESPIRATION. 

In  singing  the  breath  is  retained,  and  only  suffered  to  issue 
very  slowly.  A  singer  can  execute  more  notes  at  a  breath  than 
a  speaker  can  utter  syllables,  with  the  same  slowness,  provided 
the  sound  of  the  speaker's  voice  is  EARNESTLY  EXPRESSIVE. 

Therefore  practise  sending  out  all  the  breath  on  each 
word,  and  catching  it  quickly  and  deeply  between  the 
words. 

Assist  this  mechanical  practice  by  imagining  a  few 
persons  before  you,  and  making  vigorous  effort  of  the 
MIND  to  speak  directly  and  earnestly  TO  them. 

The  most  advantageous  style  of  speaking  for  early 
practice,  is  that  of  lawyers.  Imitate  the  hearty  earnest- 
ness and  force  with  which  they  address  juries.  Defer 
the  study  of  refinement  and  beauty  of  delivery,  until 
after  you  have  acquired  force,  and  what  people  call  a 
whole-souled  heartiness.  Universally,  in  the  common 
criticisms  of  miscellaneous  audiences,  what  is  called  in- 
teresting in  a  speaker,  is  really  little  else  than  force  and 
vehement  earnestness. 

The  taste  of  colleges  sometimes  degenerates  so  much,  as  to 
favor  what  in  the  case  of  those  who  command  no  reverence  by 
their  learning,  the  world  at  large  would  call  dullness  and  even 
stupidity.  Remember  that  the  object  of  speaking  in  college 
is  to  qualify  for  speaking  after  graduating.  Students  must  pre- 
pare for  dealing  with  the  common  sympathies  of  humanity. 
Whatever  is  worth  doing  at  all,  is  worth  doing  well.  Either 
speak  with  natural  earnestness,  or  make  up  your  mind  that  in 
future  life  you  will  decline  invitations  to  make  public  addresses. 


56  GENERAL    HABITS    IN    DELIVERY. 

It  would  be  the  most  approved  custom  for  a  man  who  has  pre- 
pared a  written  address,  but  whose  delivery  of  it  in  person  will 
certainly  torture  the  patience  of  an  audience,  to  offer  his  man- 
uscript to  an  acceptable  speaker  to  read  or  speak  it  for  him. 
This  is  the  established  practice  of  kings  and  chief  magis- 
trates, and  would  often  in  the  case  of  others  be  as  much  more 
dignified  as  more  agreeable. 

Some  entertain  an  obscure  opinion,  that  earnestness  and  en- 
ergy will  compromise  their  dignity.  So  indeed  it  will,  if  the 
matter  is  weak  and  the  style  bombastic.  But  in  all  other  ca- 
ses, true  dignity  can  only  be  exhibited  by  means  of  mental 
power  joined  to  self-command.  A  person  is  always  dignified 
who  commands  respect  by  an  earnestness  and  an  energy  that 
are  perfectly  under  his  own  control,  and  all  good  delivery  re- 
quires an  entire  command  over  our  own  faculties.  There  is  in- 
deed a  sham  dignity  which  is  purely  negative.  It  is  the  dignity 
of  a  tortoise  drawing  his  head  within  his  shell ! 

EXAMPLE    FOR    PRACTICE. 

Gentlemen  of  the  Jury  ! 

Suppose  the  prisoners,       if  the  evidence  were  true, 

\ 

DID       conspire  the  king's  death, \ 

\ 
what  are  you       to  found  your  VERDICT  upon  ? 

\ 
Upon  your  OATHS. 

\ 

What  are  THEY       founded  upon  ?\ 

\ 
Upon  the  oath  of  the  WITNESS. 

\ 
And  what  is  THAT       founded  upon?\ 

\  \ 

Upon  this,       and  this  ONLY, 

\ 
that  he  believes      there  is  a  just  and  omnipotent  GOD, 


VOICE     OR    TONE    OF    ADDRESS.  57 

\ 

an  intelligent      supreme  EXISTENCE, 

who  will  inflict      eternal  punishment  for  offences, 

\/ 
or  confer  eternal  rewards  upon  man, 

after  he  has  passed  the  boundary  of  the  grave. 

\ 
But  the  INFIDEL  ! 

\ 

By  what  can  you  catch  HIS  soul  ? 

Or  by  what  can  you  HOLD  it  1 

\  \/  / 

You  REPULSE       HIM       from  giving  evidence, 

\ 
for  he  has  NO  CONSCIENCE  ! — 

/ 
no  nope       to  cheer  him — 

\ 
no  punishment      to  dread.  \ 

Gentlemen !       the  case  of  my  client  is, 

\ 
that  the  witness  against  him       is  PERJURED  ! 

\ 
and  you  are  appealed  to, 

in  the  name  of  that  ever-living  GOD       whom  you  revere, 

\/ 

but  whom  HE       DESPISES, 

/  \ 

to  SAVE  him       from  the  baseness  of  such  an  accuser. 

CURRAN. 

If  naturally  spoken,  the  earnestness  of  the  above  plea  will 
cause  most  of  the  emphatic  words  to  be  given  with  the  interval 
of  the  fifth,  as  described  by  Dr.  Rush  and  Professor  Day.  The 
slide  through  this  interval  has  been  called  the  triple  slide  by 

6 


58  GENERAL     HABITS     IN     DELIVERY. 

Professor  Goodrich.  With  a  few  exceptions,  it  is  the  widest 
range  of  the  voice  in  practical  speaking,  and  occurs  oftener  in 
excited  argumentation  than  in  any  other  sort  of  delivery. 

AGREEABLE    AND    IMPRESSIVE    VOICE. 

The  PERFECT  VOICE  for  reading  or  speaking,  exhib- 
its what  the  scientific  musicians  call  a  PURE  TONE. 

It  is  called  by  Dr.  Rush  the  orotund.  This  new  term  seems 
scarcely  necessary,  and  misleads  most  students,  by  inducing 
them  to  cultivate  pomposity,  or  some  sort  of  mouthing.  The 
readers  of  Dr.  Rush's  invaluable  work  are  apt  to  understand 
the  orotund  as  being  necessarily  connected  with  a  low  pitch. 

The  PURE  TONE  depends  on  an  open  state  of  the 
throat  and  back  part  of  the  mouth. 

The  whole  mouth  should  indeed  be  opened  as  wide  as  possi- 
ble in  speaking,  for  unless  this  is  done,  the  articulation  will  not 
be  perfectly  clear.  But  the  pure  tone  does  not  depend  on  the 
opening  of  the  teeth  and  lips. 

In  this  country  a  prevalent  fault  of  the  voice  is  nasality  of 
tone. 

When  the  pure  tone  is  used,  the  breath  does  not  pass 
through  the  nose  at  all,  except  in  uttering  a  few  of  the 
consonants. 

Let  a  person  try  the  experiment  of  uttering  the  vowels  a,  e, 
»,  o,  u,  y,  in  the  pure  tone,  while  the  nostrils  are  closed  by  com- 
pressing them  with  the  thumb  and  finger.  He  will  find  this 
closure  of  the  nostrils  makes  no  difference  whatever  in  the  sound. 

A  perfectly  pure  tone  can  be  acquired  only  by  very 
long  and  careful  cultivation.  For  practical  purposes  in 
life,  it  is  sufficient  to  acquire  as  much  of  this  quality  as 


AGREEABLE    AND     IMPRESSIVE     VOICE.  59 

will  give  a  degree  of  dignity,  agreeableness  and  fluency 
of  voice  sufficient  to  satisfy  common  audiences. 

It  is  only  by  a  considerable  degree  of  the  pure  tone, 
that  a  large  room  can  be  filled  without  disagreeable  loud- 
ness  and  a  fatiguing  exertion  on  the  part  of  the  speaker. 

In  disciplining  the  voice  for  the  purpose  of  acquiring 
the  pure  tone,  it  is  necessary  always  to  begin  with  ex- 
plosion and  the  exhausting  breath. 

This  is  the  sole  dependence  in  the  schools  of  vocal  music, 
and  was  introduced  by  Dr.  Rush  into  the  practice  of  elocution. 

The  next  practice  should  be  in  prolongation,  and  es- 
pecially prolongation  with  the  median  stress  or  swell. 

In  general,  elementary  practice  in  explosion  and  prolongation 
should  be  on  single  words,  such  as  are  subsequently  given  in  ta- 
bles. The  following  example,  however,  may  with  equal  pro- 
priety be  spoken  in  two  different  styles,  in  one  of  which  the 
principal  words  have  an  explosive  utterance,  and  in  the  other, 
exhibit  prolongation  and  the  swell.  The  former  will  be  more 
vehement  and  excited,  while  the  latter  will  manifest  a  stronger 
earnestness. 

The  very  best  mode  of  studying  and  cultivating  the  pure  tone, 
is  to  resort  to  the  fields,  and  declaim  such  passages  with  a  full 
shout.  Then  noticing  the  smooth  and  musical  sound  that  the 
true  shout  exhibits,  and  the  condition  of  the  vocal  organs  that 
produces  it,  let  the  student  learn  to  command  the  same  quali- 
ties in  a  voice  less  and  less  loud,  and  on  lower  degrees  of  pitch, 
while  at  the  same  time  it  is  kept  perfectly  natural.  The  voices 
of  preachers  who  are  accustomed  to  deliver  sermons  and  exhor- 
tations at  camp-meetings,  are  remarkable  for  power  and  a  mu- 
sical quality,  when  used  in  a  church.  Neither  are  they  neces- 
sarily loud.  As  the  custom  of  preaching  with  too  much  loud- 
ness  passes  away,  the  improved  vocal  qualities  acquired  by  such 
preachers  become  strikingly  manifest. 


60  GENERAL     HABITS     IN     DELIVERY. 

EXAMPLE    FOR   PRACTICE. 

\ 

STRIKE! TILL   THE    LAST    ARMED    FOE          EXPIRES! 

/  \ 

STRIKE! FOR  YOUR  ALTARS      AND  YOUR  FIRES! 

\ 
STRIKE FOR  THE  GREEN  GRAVES        OF  YOUR  SIRES! 

\ 
GOD! AND  YOUR  NATIVE  LAND! 

No  inflexion  has  been  marked  on  the  first  word  of  each  of 
the  above  lines,  because  either  the  rising  or  the  falling  may  be 
used.  The  former  will  be  more  eager,  and  the  latter  more  com- 
manding. The  most  decisive  test  of  true  skill  in  using  the 
pure  tone,  is  the  ability  to  give  such  a  passage  as  the  above  in 
the  subdued  loudness  of  parlor  reading,  and  yet  to  make  it 
sound  like  a  bold  war-cry. 

REFINEMENT    AND    SUAVITY    OF    VOICE. 

The  difference  is  very  great  between  an  utter  coarseness  of 
tone,  such  as  we  hear  from  teamsters  and  hostlers,  addressing 
their  cattle,  and  the  agreeable  and  captivating  sound  of  that 
frank  and  gentlemanly  address,  which  expresses  mutual  respect 
between  human  beings. 

That  quality  of  voice  which  expresses  refinement  of 
feeling,  and  cultivation  of  mind  and  manners,  depends  in 
some  degree  upon  the  pure  tone,  but  principally  upon 
the  vanishing  movement  of  the  voice  in  the  utterance  of 
each  syllable. 

Affectation  of  refinement  and  suavity,  consists  in  the  vanish 
being  carried  to  excess  and  unduly  prolonged,  either  in  a  sing- 
ing or  in  a  whispering  tone. 

DRAWLING  proceeds  from  prolonging  vowels  without  the 
slide.  Drawling  is  an  approximation  to  singing. 


REFINEMENT    AND    SUAVITY    OP    VOICE.          61 

To  explain  the  vanishing  movement  of  the  voice,  we  may 
take  the  vowel  a.  If  this  be  uttered  in  a  polite  and  pleasant 
tone,  yet  at  the  same  time  with  such  a  deliberate  prolongation 
that  we  can  watch  the  movement  of  the  voice,  we  shall  find  that 
it  commences  with  an  opening  fullness  that  indicates  frankness, 
and  then  tapers  away  into  the  sound  of  ee.  This  final  sound 
does  not  break  offabruptly,  but  gradually  vanishes  into  silence,  so 
that  the  precise  ending  is  imperceptible.  This  vanishing  move- 
ment, when  deliberately  given,  expresses  considerateness  or  def- 
erence, and  hence,  as  above  mentioned,  an  affectation  or  excess 
of  politeness  prolongs  it  into  a  whisper,  or  prolongs  the  delicate 
termination  with  an  effeminate  tone.  On  the  other  hand,  the 
coarse  tone  of  hostlers,  which  has  been  alluded  to,  being  ad- 
dressed to  brute  animals,  is  destitute  of  the  vanishing  movement. 

The  vanish  of  the  vowel  o  is  into  oo.  That  of  i  is  into  ee  ; 
that  of  ou  into  oo,  and  that  of  oy  or  oi  into  ee. 

Every  syllable  however,  whatever  is  its  vowel,  or  whether  it 
ends  with  a  vowel  or  a  consonant,  exhibits  this  vanishing  move- 
ment, unless  the  tone  with  which  it  is  uttered  is  extremely 
coarse. 

For  study  and  practice  on  the  vanish,  it  is  best  at  first 
to  take  separate  words  of  one  syllable,  and  afterwards  to 
watch  the  voice,  in  respect  to  executing  it  well  on  the 
more  prominent  syllables  of  a  whole  sentence  or  para- 
graph. In  the  latter  case  none  but  the  accented  syllables 
need  be  noticed. 

If  the  above  directions  are  not  sufficient  for  enabling  the  stu- 
dent to  distinguish  this  movement,  let  him  experiment  upon  the 
word  no.  He  will  find  that  when  uttered  with  politeness  and 
consideration,  the  sound  of  oo  is  very  perceptible  at  the  end, 
while  it  is  scarcely  heard  in  the  tone  of  rudeness  or  surliness. 

We  remarked  above  that  the  opening  fullness  which  precedes 
the  vanish  expresses  frankness.  It  may  likewise  represent  con- 

6* 


63  GENERAL     HABITS     IN     DELIVERY. 

fidence  and  other  such  states  of  feeling.  It  will  be  found  on 
trial,  that  a  sneaking  or  sniveling,  or  an  extremely  embarrassed 
tone,  begins  otherwise. 

As  this  quality  of  the  speaking  voice  ought  to  be 
habitually  exhibited  in  all  delivery  whatever,  no  especial 
example  is  required  for  its  cultivation.  Yet  as  the  fol- 
lowing extract  from  an  address  of  Mr.  Burke,  on  declin- 
ing to  stand  a  candidate  for  reelection  from  Bristol,  ex- 
hibits so  strikingly  that  great  orator's  characteristic  un- 
ion of  dignity  and  grace,  it  may  be  well  to  subjoin  it. 

EXTRACT    FOR    PRACTICE. 
/ 

Gentlemen!       I  decline       the  election. \ 

/ 
It  has  ever  been  my  rule       through  life, 

to  observe  a  proportion      between  my  efforts     and  my  objects.  \ 

\/ 
I  have  not  canvassed       the  whole  of  this  city       inform; 

/ 
but  I  have  taken  such  a  view  of  it       as  satisfies  my  own  mind, 

that  your  choice       will  not  ultimately      fall  upon  me.\ 

Your  city,      gentlemen ,      is  in  a  state  of  miserable  distraction ;  \ 

\ 

and  I  am  resolved  to  withdraw       whatever  share  my  pretensions 

/ 

[have  had 
in  its  unhappy  divisions.  \ 

\/ 

To  say  that  I  am  no  way  concerned, 

/  \ 

would  be  neither  decent      nor  true. 

The  representation  of  Bristol 

was  an  object      on  many  accounts      dear  to  me ; 


REFINEMENT    AND     SUAVITY    OF    VOICE.          63 

and  I  should  certainly       very  far  prefer  it 

to  any  other       in  the  kingdom.  \ 

\ 
My  habits      are  made  to  it : 

/ 
and  it  is  in  general 

more  unpleasant      to  be  rejected  after  long  trial 
than  not  to  be  chosen  at  all.\ 

But,       gentlemen,       I  will  see  nothing      except  your  former 

[kindness  ,\ 
and  I  will  give  way  >  to  no  other  sentiments 

than  those  ofgratitude.\ 

/ 
From  the  bottom  of  my  heart 

I  thank  you      for  what  you  have  done  for  me.\ 

You  have  given  me  a  long  term,       which  is  now  expired.  \ 

/ 
I  have  performed  the  conditions 

/ 
and  enjoyed  all  the  profits 

to  the  full  ;\ 

and  I  now       surrender  your  estate  into  your  hands 

/ 
without  being      in  a  single  tile      or  a  singk  stone 

impaired      or  wasted      by  my  use.  \ 
I  have  served  the  public 

for  Jif teen  years.  \ 

\/ 
I  have  served  you      in  particular 

for  six.\ 


64  GENERAL     HABITS     IN     DELIVERY. 

/ 

What  is  passed      is  well  stored.  \ 

/ 
It  is  safe,       and  out  of  the  power  of  fortune.  \ 

\/ 
What  is  to  come 

\ 
is  in  wiser  hands       than  ours ; 

and  HE,       in  whose  hands  it  is, 

/ 
best  knows 

/ 
whether  it  is  best  for  you  and  me 

/ 

that  /      should  be  in  parliament 

or  even  in  the  world.\ 

The  above  extract  will  also  be  found  one  of  the  best  in  the 
language,  for  practising  the  student  in  those  grave  yet  polite  at- 
titudes and  bendings  of  the  body,  which  are  required  in  an  ad- 
dress so  formal  and  yet  so  sincere.  In  the  gestures,  the  hand 
will  often  require  to  be  brought  quite  low,  to  correspond  with 
the  inflexions  of  the  body  and  the  low  pitch  of  the  cadences. 

KEYS    OF   THE    SPEAKING    VOICE. 

For  practical  purposes,  it  is  best  to  recognize  the  old 
distinction  of  three  keys  in  every  person's  speaking  voice. 

These  correspond  somewhat  to  the  registers,  as  they  are 
called,  of  the  singing  voice.  If  we  make  the  supposition  that 
an  absolutely  perfect  male  voice  for  singing,  would  have  three 
registers,  one  for  the  bass,  one  for  the  tenor,  and  one  for  the 
soprano,  these  would  be  analogous  to  the  three  keys  of  the 
speaking  voice. 

These  keys  are  the  lower,  the  middle  and  the  upper. 
The  middle  is  the  most  important,  and  is  that  which 


KEYS     OF    THE     SPEAKING     VOICE.  65 

should  generally  be  used.  The  other  two  however, 
ought  to  be  carefully  cultivated,  since  in  varied  and  ani- 
mated addresses,  all  three  are  used,  though  the  middle 
occurs  in  the  largest  proportion. 

Students  of  elocution  who  are  also  musicians,  should  bear 
carefully  in  mind  the  fact,  that  the  range  of  pitch  in  speaking  is 
lower  and  less  extensive  than  in  singing.  The  pitch  of  the 
middle  key  in  most  male  voices  is  not  much  above  the  middle 
of  the  bass  in  singing.  The  higher  notes  of  the  air  are  never 
used  in  speaking,  except  occasionally  in  dramatic  elocution. 
On  the  other  hand,  the  voice  descends  lower  in  the  cadences  of 
speech  than  it  ever  does  in  music.  Indeed,  many  good  speak- 
ers sometimes  descend  in  their  cadences  into  a  whisper.  But 
this  is  a  habit  which  is  liable  to  appear  affected,  and  is  never 
necessary  or  expedient. 

The  upper  key  of  the  voice  is  that  which  we  instinc- 
tively use  in  calling  to  a  person  at  a  great  distance — and 
upon  this  fact  is  founded  a  natural  and  easy  mode  of  cul- 
tivating the  voice  in  the  different  keys. 

To  cultivate  the  upper  key,  we  may  employ  as  one 
mode  of  practice,  the  instinctive  effort  to  make  ourselves 
audible  when  declaiming  to  persons  at  a  very  considera- 
ble distance. 

Then  by  imagining  the  hearers  at  no  greater  distance 
than  the  length  of  a  large  church,  our  voices  will  natur- 
ally fall  into  the  middle  key. 

Finally,  if  we  speak  with  a  tone  of  deep  earnestness 
of  feeling  to  persons  very  near,  the  voice  proceeds  in  the 
lower  key. 

It  is  highly  important  to  cultivate  power  and  a  pure  tone 
throughout  the  whole  range  of  each  one's  voice.  In  general, 
there  are  two  classes  of  voices  in  respect  to  range  of  pitch. 


66  GENERAL     HABITS     IN     DELIVERY. 

Some  have  their  middle  key  on  a  high  pitch  and  cannot  readily 
be  made  to  descend  to  a  low  pitch,  while  others  have  their  mid- 
dle range  very  low  and  cannot  readily  strike  into  high  and  spirit- 
stirring  notes.  Popular  audiences  generally  prefer  to  hear 
voices  of  high  pitch.  A  majority  of  the  most  celebrated  speak- 
ers have  had  such.  Pitt  and  Fox  are  instances.  Still  the  very 
best  voices  are  capable  of  descending,  with  strength  of  tone,  to 
a  very  low  pitch,  and  at  other  times  rising  very  high  without 
loss  of  fullness  and  dignity.  Each  one  should  endeavor  to  im- 
prove his  voice  most  in  that  part  of  its  range  in  which  it  is 
naturally  most  inferior. 

It  will  be  impossible  to  acquire  a  practical  command  over  a 
particular  key,  merely  by  practising  passages  whose  appropriate 
expression  compels  us  to  use  it.  On  the  contrary,  we  must  dis- 
cipline ourselves  in  the  power  of  speaking  the  same  passage  in 
each  of  the  keys.  For  this  reason  we  furnish  no  examples  for 
the  especial  cultivation  of  the  keys.  Any  extract  or  table  of 
words  may  be  used  for  this  purpose. 


CHAPTER  III. 

ANIMATED  AND  IMPRESSIVE  UTTERANCE. 

IN  the  previous  chapter  we  treated  of  those  qualities  of  the 
voice  which  are  required  in  all  speaking,  whatever  may  be  the 
particular  expression  demanded  by  the  passage.  The  present 
will  be  devoted  to  two  modes  of  utterance,  without  which  even 
the  most  plain  and  calm  delivery  will  be  lifeless  and  uninter- 
esting. 

For  the  sake  of  rendering  the  study  of  elocution  as  simple 
and  easy  as  possible,  we  shall  not  in  this  chapter  consider  the 
forms  of  stress,  and  the  different  ways  of  managing  the  slide, 
by  which  such  kinds  of  expression  are  given  as  are  classified  in 


ANIMATED     UTTERANCE.  67 

the  third  part  of  the  work.     Each  will  there  be  briefly  describ- 
ed under  the  style  of  delivery  of  which  it  is  the  characteristic. 

ANIMATED     UTTERANCE     AND    SPIRITED    ACCENT. 

Animation  of  voice  and  accent  are  here  considered,  in  op- 
position to  the  faults  of  sluggishness  and  languor  of  tone. 
These  faults  proceed  from  want  of  what  is  called  by  Dr.  Rush, 
the  "  radical  stress,"  i.  e.  stress  at  the  very  commencement  of 
each  vowel.  In  lively  rnoods  of  mind,  the  syllables  of  discourse 
issue  suddenly.  This  suddenness  gives  spirit  and  animation  to 
the  voice.  It  is  of  course  most  striking  on  accented  syllables. 

Animation  of  voice  thus  depends  on  a  quick  and  sud- 
den impulse  given  to  the  enunciation  of  the  vowel  of 
each  syllable,  and  on  the  strong  and  decided  accent 
which  naturally  accompanies  it. 

At  the  moment  of  beginning  the  vowel  of  each  syl- 
lable, there  takes  place  a  slight  check  in  the  flow  of  the 
breath,  and  a  sudden  and  instantaneous  action  of  the  vo- 
cal organs  in  the  throat. 

This  description  will  enable  any  one  to  exemplify  the  quality 
under  consideration;  but  in  practising  according  to  it,  care 
must  be  taken  to  make  the  sounds  perfectly  natural,  or  else  if 
the  utterance  is  quite  loud,  it  will  resemble  the  barking  of  a  dog 
rather  than  human  speech. 

The  very  highest  degree  of  this  quality  is  what  is  called  ex- 
ploding in  speech,  arid  the  explosive  tone  in  singing.  In  rapid 
speech,  in  which  the  syllables  are  not  prolonged,  this  stress  is 
the  same  thing  as  what  is  called  staccato  stress  in  music.  As 
in  music  the  staccato  stress  may  be  given  to  the  commence- 
ment of  notes  that  are  somewhat  prolonged,  so  in  speech  the 
utterance  may  be  slow  and  the  syllables  not  shortened,  yet  at 
the  same  time  each  may  be  sent  forth  with  a  sudden  and  stri- 


DO  GENERAL     HABITS     IN     DELIVERY. 

king  effect,  that  awakens  attention  and  arouses  the  spirits  of 
the  audience. 

This  is  one  of  the  principal  qualities  of  delivery,  in  conse- 
quence of  which  the  mere  sound  of  the  voice,  independently  of 
the  ideas  offered,  secures  attention  from  the  hearers. 

The  very  highest  degrees  of  earnestness,  however,  as  will 
presently  be  described,  cause  the  voice  to  proceed  in  prolonged 
tones ;  and  in  these,  the  swell  of  the  voice  often  takes  the  place 
of  the  suddenly  expulsive  accent  now  under  consideration. 

Great  care  likewise  must  be  taken,  that  not  only  this,  but  all 
other  qualities  of  voice  be  so  managed  when  we  cultivate  elo- 
cution, as  to  be  perfectly  natural  and  agreeable.  The  sudden- 
ness of  utterance  which  has  just  been  described,  should  be  con- 
joined with  graceful  ease  and  fluency. 

A  very  high  degree  of  the  vocal  action  we  are  now  consider- 
ing, is  exhibited  in  the  natural  utterance  of  various  interjec- 
tions which  express  surprise,  alarm,  caution,  command,  or  cheer- 
ful willingness.  These  interjections  and  imperative  phrases 
are  such  as,  Ah !  Oh  !  Take  care !  Who !  (to  horses,)  Come, 
come !  Look  out !  Ay,  ay ! 

EXAMPLE    FOR    PRACTICE. 

The  following  harangue  from  Shakespeare,  requires  an  ex- 
tremely high  degree  of  this  utterance.  It  will  be  useful  to  prac- 
tise the  declamation  of  such  passages  with  great  force,  and  even 
with  violence.  It  must  be  remembered,  however,  that  in  ordi- 
nary delivery  it  should  be  impossible  for  common  auditors  to  de- 
tect this  peculiar  vocal  action,  even  when  it  decidedly  characteri- 
zes the  speaking.  It  must  be  so  managed  as  to  give  spirit  and 
attractive  interest  to  the  whole  run  of  the  voice,  and  yet  with  such 
ease  and  fluency,  as  to  make  the  delivery  even  more  graceful. 
It  is  not  for  any  one  a  new  use  of  the  voice.  The  reason  why 
it  must  be  carefully  cultivated,  is  that  the  necessary  slowness  of 


ANIMATED    UTTERANCE.  b9 

public  speaking  is  apt  to  prevent  its  natural  use,  and  substitute 
for  it  some  sort  of  drawl.  After  declaiming  the  following  pas- 
sage with  the  energy  of  a  harangue,  it  will  be  well  to  practise 
repeating  it  again  in  the  more  rapid  and  familiar  manner  of 
reading  or  of  conversation.  By  so  doing,  the  student  will  be 
able  to  distinguish  that  the  same  suddenly  expulsive  utterance 
which  in  its  highest  degree  represents  the  excitement  of  the  mil- 
itary harangue,  in  a  less  degree  and  with  a  subdued  loudness 
gives  spirit  and  animation. 

To  secure  the  confidence  and  cordial  cooperation  of  intellec- 
tual young  men,  in  such  declamatory  exercises  as  this  which 
follows,  it  will  be  well  to  remark  that  they  are  of  no  value  ex- 
cept for  gymnastic  vocal  training.  A  man  may  excel  in  them, 
and  yet  have  neither  skill,  taste,  nor  judgment,  in  the  ordinary 
delivery  of  practical  life.  As  an  intellectual  accomplishment, 
the  ability  to  execute  them  need  not  be  considered  of  higher 
rank  than  skill  in  playing  ball.  Many  shrink  from  them  in 
consequence  of  supposing,  that  they  are  considered  by  a  teach- 
er as  evidences  of  talent  or  mental  cultivation ;  whereas  they 
in  fact  task  the  body  more  than  the  mind.  Sensitive  young 
men  must  however  remember,  that  audiences  cannot  very  well 
discriminate  between  faults  of  delivery  that  proceed  from  the 
mind,  and  those  that  result  from  natural  weakness  or  infelici- 
tous habits  of  the  bodily  organs.  We  have  occasionally  observed 
that  an  auditor  has  accused  a  speaker  of  not  having  his  feelings 
interested  in  his  subject,  when  the  fact  happened  to  be,  that  he 
was  both  earnest  and  enthusiastic,  but  had  merely  a  bad  habit 
of  not  taking  breath  with  sufficient  frequency  and  fullness  to 
render  his  voice  flexible  and  significant.  Such  declamation  as 
the  following  confers  also  free  habits  of  respiration  in  speaking, 
as  well  as  a  voice  habitually  spirited. 


70  GENERAL     HABITS     IN     DELIVERY. 

HARANGUE    OF    HENRY    FIFTH    TO    HIS    TROOPS    BEFORE    HAR- 
FLEUR. 

\  ,.  \ 

Once  more       unto  the  breach,       dear  friends !       once  more ; 
Or  close  the  wall  up       with  our  English  dead. 

In  peace       there's  nothing  so  becomes  a  man 

\  f 
As  modest  stillness       and  humility : 

But  when  the  blast  of  war      blows  in  our  ears, 

\ 
Then       imitate  the  action       of  the  tiger : 

\  \ 

Stiffen  the  sinews;       summon  up  the  blood; 

Disguise  fair  nature       with  hard-favored  rage : 

\ 
Then  lend  the  eye       a  terrible  aspect; 

Let  it  pry      through  the  portage  of  the  head, 

\ 
Like  the  brass  cannon ;       let  the  brow      overwhelm  it, 

\ 
As  fearfully,       as  doth  a  gatted  rock 

O'erhang  and  jutty       his  confounded  base, 

\ 
Swill'd       with  the  wild  and  wasteful  ocean. 

\  \ 

Now       set  the  teeth       and  stretch  the  nostril      wide.\ 

\ 
Hold  hard  the  breath,       and  bend  up  every  spirit 

\ 
To  ITS  FULL  HEIGHT! 

/         /  \ 

On,       on,      you  NOBLE  English, 

Whose  blood  is  fetch'd       from  fathers  of  war  proof! 

\ 
Fathers      that  like  so  many  Alexanderst 


IMPRESSIVE    UTTERANCE.  71 

Have,  in  these  parts,       from  morn  till  even  fought, 

\ 
And  sheathed  their  swords       for  lack  of  argument! 

\ 
Be  copy  now       to  men  of  grosser  blood, 

\ 
And  teach  them      HOW  TO  WAR  ! 

\ 
And  yout      good  YEOMEN  ! 

\ 
Whose  limbs  were  made  in  ENGLAND  !       show  us  here 

\ 
The  mettle  of  your  pasture  ! 

I  see  you  stand       like  greyhounds  in  the  slips , 

\ 
Straining  upon  the  start. 

THE  GAME'S  AFOOT! 

FOLLOW  YOUR  SPIRIT  :       and  upon  this  charget 
Cry —     STRIKE  FOR  HARRY  !     ENGLAND!     and  ST.  GEORGE. 

IMPRESSIVE     UTTERANCE,    OR    PROLONGED 
TONES. 

Impressiveness  depends  principally  upon  prolongation.  Be- 
fore attempting  the  regular  declamation  of  extracts,  the  voice 
ought  to  be  disciplined  in  the  power  of  prolonging  syllables  and 
words,  for  purposes  of  emphasis  and  expression.  Prolongation 
is  the  most  universal  form  of  emphasis,  and  characterizes  all 
earnest  delivery. 

It  takes  place  however,  only  on  syllables  that  have  what  is 
called  in  prosody,  long  quantity. 

The  English  language  is  remarkable  for  abounding  in  mono- 
syllabic words,  generally  of  Saxon  origin,  which  have  great 
strength  and  energy,  in  consequence  of  their  length. 


GENERAL     HABITS     IN     DELIVERY. 

It  will  be  useful  to  exhibit  tables  of  these,  arranging  them  ac- 
cording to  the  nature  of  their  constituent  letters. 

The  first  class  consists  of  syllables  that  end  with  a 
long  vowel.  Such  admit  of  indefinite  prolongation,  ac- 
cording to  the  strength  and  earnestness  of  the  emotion 
with  which  they  are  uttered. 

true     glow     flee     joy         away    straw     bow     sigh 
stay     strow    stray  destroy  high      thou      high    now 
The  next  class  consists  of  syllables  in  which  a  long 
vowel  is  followed  by  a  consonant  that  admits  of  being 
lengthened.     In  prolonging  these,  both  the  vowel  and 
the  consonant  following  it  are  lengthened.     Such  sylla- 
bles also,  may  be  prolonged  to  any  extent  required, 
all         fame      join       came       zone       spoil       feel 
wane     roll         time     calm       scowl     prove     fail 
rule       frail        revile    grave      save       move      soothe 
smooth  breathe  ire         admire    store      jeer        near 
lure       roar        stare     aware     fall'n      strong     soar 

The  next  have  long  vowels,  and  final  consonants  that 
can  be  prolonged  to  some  extent  but  not  indefinitely. 

made          robe          proud          tide  need 

stride          found        mind          mild  rolled 

road            heed          speed           side  sold 
The  next  have  long  vowels,  but  end  with  a  consonant 

that  cannot  be  lengthened.     These  words  can  be  pro- 
longed, but  not  indefinitely. 

smite         sweet         state         awake  seek 

sleep         flight          mute        deep  hope 

partake      mistake     awoke      light  smote 

flout          daunt        faint         heart  haste 

float          height       harp         shark  short 


IMPRESSIVE     UTTERANCE.  73 

The  next  have  short  vowels,  but  terminal  consonants 
that  can  be  indefinitely  lengthened. 

swell         dim         on         won  shun  pull 

well          loll          film      starve  still  span 

hymn       sum        full       thrill  shall  whelm 

serve         sing        bring    string  wing  sprung 

wrung      drum      sung     swing  hung  run 

G  and  Z  at  the  end  of  syllables  admit  of  some  pro- 
longation. 

age         oblige       amaze       feels        joins         days 
bridge    edge         muse         fills         joys          ties 

Whispering  letters  at  the  end  are  not  prolonged, 
leaf          safe  horse  reach  pelf 

teeth        ice  beach         rush  self 

Syllables  with  short  vowels  and  only  whispering  let- 
ters or  mutes  at  the  end,  cannot  be  prolonged. 

push  hiss          map          clock          shot 

split  mists        cut  knot  rash 

cliff  struck       ships         pith  insist 

test  butt  such          stretch         rest 

Many  of  this  class  however,  are  long  for  the  purposes  of  me- 
ter, on  account  of  the  number  of  consonants  at  the  end.  They 
are  long  "  by  position,"  as  it  is  called. 

In  respect  to  the  last  class  of  syllables,  the  question  occurs, 
in  what  way  does  the  voice  give  those  expressions  that  cause 
other  syllables  to  be  prolonged?  This  is  done  by  making  pre- 
cisely the  same  vigorous  mental  effort  as  upon  those  that  can 
be  lengthened.  This  effort  however,  causes  the  voice  first  to  ex- 
ert itself  with  more  force,  and  then,  as  the  syllable  does  not  length- 
en, an  unconscious  pause  succeeds,  which  makes  the  syllable, 

7* 


74  GENERAL    HABITS    IN    DELIVERY. 

or  at  least  the  whole  word,  to  occupy  as  much  time,  as  if  the 
sound  were  continued  by  prolongation. 

It  will  be  unnecessary  to  furnish  extracts  for  the  practice  of 
prolongation,  because  this  use  of  the  voice  is  the  universal  re- 
source of  nature  for  all  earnestness  on  emphatic  passages,  and 
is  always  exhibited  in  a  high  degree  whenever  large  rooms  are 
satisfactorily  filled,  or  discourse  rendered  intelligible  and  inter- 
esting to  very  large  audiences.  It  is  the  natural  and  necessary 
prolongation  of  seriousness  and  solemnity,  which,  if  unaccom- 
panied with  spirit  and  energy,  produces  the  drawling  tone 
which  we  sometimes  hear  in  the  pulpit.  The  faults  of  pulpit 
elocution  should  be  corrected,  not  by  adopting  an  inappropriate 
familiarity  of  manner,  or  the  sort  of  energy  that  characterizes 
the  bar  and  the  legislative  assembly,  but  by  superadding  hearti- 
ness and  animation,  to  impressiveness. 

A  single  caution  must  be  given  with  respect  to  the  practice 
of  such  tables  as  we  have  given  above.  Instead  of  disciplining 
the  voice  by  prolonging  the  syllables  in  a  merely  mechanical 
way,  it  is  better  always  to  imagine  one's  self  to  be  speaking,  and 
thus  give  to  each  a  natural  expression  of  emphatic  earnestness. 


CHAPTER  IV. 

ARTICULATION    AND    PRONUNCIATION. 

WE  place  this  chapter  after  those  which  treat  of  the  general 
qualities  and  habits  of  the  voice,  because  if  these  are  bad,  it  will 
be  difficult  for  articulation  to  be  such  as  is  desirable  in  reading 
or  speaking,  or  for  pronunciation  to  be  truly  graceful  and 
elegant. 

ARTIC  ULATI ON. 

In  most  cases  a  good  articulation  in  conversation  and  famil- 
iar reading,  either  results  from  natural  organization,  or  is  formed 


ARTICULATION.  75 

in  early  childhood  by  models  afforded  in  the  domestic  circle. 
The  influences  of  schools  however,  are  generally  such  as  tend 
to  produce  the  very  worst  habits  of  enunciation.  In  most 
schools,  and  sometimes  in  a  college,  lessons  are  recited  in  a 
manner  so  hurried  and  yet  so  hesitating,  that  the  enunciation  is 
like  the  following  example.  Suppose  the  rule  to  be  repeated  is, 
"  A  verb  must  agree  with  its  nominative  case  in  number  and 
person."  Tt  will  be  recited  thus :  "  Vub  m'st  'gree  w'ts  nom- 
'tuv  case  'ri  numbu  'n  puss'n." 

Those  who  cultivate  propriety  of  manners  in  a  high  degree, 
are  remarkable  for  a  pleasant  and  respectful  distinctness  of  ar- 
ticulation. Suppose  a  person  passing  along  a  dark  street,  stum- 
bles against  another ;  if  a  mutual  apology  is  not  made,  at  least 
some  exclamation  ensues.  In  such  a  case,  the  tone  of  voice, 
and  style  of  articulation,  immediately  indicates  whether  either 
or  both  the  persons  are  refined  and  gentlemanly.  In  nothing  is 
that  cultivation  of  mind  and  character,  from  which  cultivated 
manners  proceed,  so  much  shown  as  by  the  voice.  Every  one 
articulates  distinctly,  when  addressing,  with  sincere  respect,  one 
much  above  him  in  age  and  station.  The  tone  of  patient  def- 
erence indeed,  is  marked  by  little  else  than  distinctness  of  enun- 
ciation. So  too,  that  of  high  self-respect,  or  of  condescension  to 
presuming  vulgarity,  is  remarkably  elaborate  and  distinct.  On 
the  other  hand,  the  vulgarity  of  manners  which  proceeds  from 
an  egotistical  enthusiasm,  such  as  forgets  to  accommodate  itself 
to  others,  causes  words  to  be  hurried  in  utterance,  and  makes  it 
difficult  to  catch  them.  Extreme  and  egotistical  diffidence  also 
makes  the  voice  guttural,  or  what  is  called  snuffling,  and  pre- 
vents the  perfect  formation  of  syllables. 

These  remarks  are  made  with  no  purpose  of  inculcating 
points  of  manners,  but  in  direct  and  sole  reference  to  public 
speaking.  When  such  causes  of  indistinct  articulation  as  these 
which  we  have  just  mentioned,  are  accurately  explained,  it  be- 
comes easy  to  avoid  them  in  that  more  excited,  yet  more  col- 


76  GENERAL    HABITS     IN    DELIVERY. 

lected  state  of  mind,  that  distinguishes  speaking  from  conversa- 
tion. The  influences  which  make  a  person  articulate  distinct- 
ly, when  respectfully  addressing  a  superior,  are  similar  to  those 
which  promote  a  good  enunciation  in  speaking.  In  both,  the 
importance  of  the  occasion  excites,  intensifies,  and  steadies  the 
mind. 

There  is  but  one  mode  of  practice  by  which  we  can 
in  a  short  time,  acquire  the  habit  of  a  good  articulation 
when  addressing  an  audience. 

This  is  by  a  vigorous  and  concentrated  effort  of  the 
mind,  to  explain  or  set  forth  to  the  auditors,  the  IDEA 
conveyed  by  the  word  we  are  uttering. 

This  natural  and  distinctive  effort  tends  to  make  the 
organs  of  speech  enunciate  distinctly  every  letter  of 
every  syllable :  and  this  is  what  is  meant  by  the  very 
term,  a  perfect  articulation. 

Experience  proves  that  when  students  of  elocution  have  done 
nothing  more  than  study  the  principles  and  practice  of  articula- 
tion of  single  words,  there  is  no  certainty  that  they  will  exhibit 
an  accurate  and  clear  enunciation  during  the  flow  of  continu- 
ous discourse.  Yet  the  study  of  the  analysis  of  syllables  into 
their  constituent  letters,  and  the  consequent  principles  of  a  per- 
fect articulation,  should  not  be  neglected. 

It  is  difficult  however,  to  find  time  and  opportunity  for  this 
study,  in  college  instruction.  There  are  but  two  ways  in  which 
it  can  be  carried  on ;  the  one,  linguistically,  or  as  a  part  of  the 
science  of  languages,  and  the  other  by  that  patient  and  endless 
iteration  which  constitutes  the  mode  of  instruction  in  schools. 
For  the  latter  there  is  not  sufficient  time  in  college,  and  it  is 
inconsistent  with  the  style  of  instruction  most  appropriate  for 
intelligent  young  men.  The  former  requires,  on  the  other 
hand,  more  maturity  of  mental  discipline,  than  it  is  possible  for 
the  younger  classes  in  a  college  to  possess. 


VOWELS. 


77 


Audiences  however,  do  not  trouble  themselves  to  distinguish 
an  elegant  from  a  clumsy  articulation,  provided  they  are  ena- 
bled readily  to  catch  the  principal  sound  of  every  syllable.  For 
practical  purposes  of  speaking,  the  refinement  of  phonology 
and  orthoepy  are  lost  upon  them.  We  shall  presently  devote  a 
section  to  the  head  of  distinctness,  considered  as  different  from 
articulation ;  by  which  we  mean  the  avoidance,  either  of  omit- 
ting syllables,  or  of  huddling  them  together.  If  audiences  can 
distinctly  catch  the  vowel  of  each  syllable,  they  never  complain 
of  the  imperfect  articulation  of  a  speaker,  unless  he  has  a  lisp 
or  some  habit  which  is  commonly  referred  to  "  impediment  of 
speech." 

Training  therefore,  in  what  properly  belongs  to  articulation, 
is  the  duty  of  parents  and  school  teachers ;  and  when  their  in- 
struction or  example  has  left  bad  habits,  the  teacher  of  elocution 
generally  has  time  and  opportunity  to  do  little  more,  than  in- 
form his  pupil  of  the  fact,  and  advise  him  to  institute  some  course 
of  self-cultivation.  But  if  the  student  learns  to  explain  thought, 
and  give  natural  earnestness  of  expression,  his  articulation  will 
necessarily  be  sufficiently  perfect  for  practical  purposes  in 
speaking.  Elegant  reading  and  artistic  recitation  of  poetry, 
indeed,  as  also  vocal  music,  require  a  careful  analysis  of  letters 
in  the  minutest  points,  and  a  patient  and  persevering  discipline 
of  the  vocal  organs  and  the  ear.  But  these  subjects  do  not 
come  within  the  scope  of  the  present  treatise. 

Yet  as  some  directions  are  required  for  the  management  of 
articulation  in  speaking,  the  following  are  given  as  the  result  of 
experience  in  teaching. 


VOWELS. 


In  studying  articulation,  it  is  not  strictly  necessary  to  inves- 
tigate the  different  sounds  of  the  vowels.  Any  errors  in  these, 
will  fall  under  the  head  of  pronunciation. 


78  GENERAL    HABITS     IN     DELIVERY. 

Yet  we  must  be  careful  that  no  vowel  be  omitted.  A  large 
part  of  the  faults  of  articulation,  consist  in  omitting  short  vow- 
els, and  thus  contracting  words  by  huddling  the  consonants  to- 
gether. 

E.  g.  p'rtic'lar  for  particular;  Sample  for  example,  &c. 

The  first  practical  rule,  then,  in  articulation,  is  NEVER 

TO  OMIT  A  VOWEL. 

It  may  happen,  however,  that  the  best  custom  in  pronuncia- 
tion drops  it,  in  order  to  prevent  what  is  called  in  Latin  and 
Greek  a  hiatus,  as  in  the  word  extraordinary,  which  is  to  be 
pronounced  extrordinary . 

A  certain  degree  of  easy  and  pleasant  deliberation,  such  as 
is  heard  from  the  citizens  of  Philadelphia,  and  in  general  from 
the  polished  inhabitants  of  the  southern  states — a  deliberation 
just  sufficient  to  admit  of  room  for  every  vowel  even  in  the  most 
rapid  and  fluent  utterance,  is  the  most  attractive  beauty  of  ar- 
ticulation. 

It  must  be  carefully  borne  in  mind,  that  the  more  syl- 
lables a  word  contains,  the  more  time  will  be  required 
for  its  complete  utterance. 

The  most  common  faults  under  this  head,  proceed  from  an 
improper  shortening  of  words,  or  clipping  them,  as  it  is  called  ; 
or  from  what  the  French,  when  they  describe  the  English  pro- 
nunciation of  their  own  tongue,  term  the  swallowing  of  vowels. 

Still  it  is  very  common  to  observe,  that  those  who  have  taken 
considerable  pains  to  acquire  a  good  articulation,  enunciate 
with  a  pedantic  slowness  and  stiffness,  somewhat  like  a  school 
teacher  putting  out  words  to  be  spelled.  Such  do  not  accent 
with  sufficient  spirit  to  make  the  utterance  of  the  unaccented 
syllables  light  and  fluent. 

A  strong  accent  must  be  studiously  cultivated  by  all 
who  would  acquire  a  good  articulation  of  the  English 
tongue. 


VOWELS. 


79 


This  causes  the  voice  to  glide  lightly  and  gracefully 
over  the  unaccented  vowels,  while  at  the  same  time 
they  are  uttered  with  perfect  distinctness. 

It  is  a  curious  fact  in  regard  to  speech,  that  if  in  addressing 
even  a  very  large  assembly,  the  accented  syllables  of  words  are 
heard,  the  others  will  also  be  sufficiently  audible.  Tt  will  not 
be  necessary  for  the  speaker  to  bestow  attention  upon  the  oth- 
ers, further  than  not  to  skip  them  or  huddle  them  together. 

It  is  also  an  important  fact,  that  by  cultivating  a  vigorous  ac- 
cent, it  becomes  easy  to  avoid  the  most  important  of  all  the  er- 
rors which  distinguish  an  elegant  from  a  slovenly  pronunciation. 
And  as  a  truly  elegant  pronunciation  is  inseparably  connected 
with  a  clear  and  graceful  articulation,  we  shall  mention  under 
the  present  head  the  following  fault. 

It  is  that  of  not  sounding  vowels  distinctly  and  defi- 
nitely when  they  occur  in  unaccented  syllables,  but  on 
the  contrary,  either  dropping  them  or  changing  them  in- 
to short  u. 

It  will  be  useful  for  many,  to  practise  upon  the  left  hand  col- 
umn of  the  following  table. 

believe,     and  not  b'lieve  or  bulieve 

opposite,  opp'site  or  opposite 

domestic,  d'mestic  or  dumestic 

monument,  mon'miint  or  monumiint 

commencement,  c'mmencemunt  or  commencemunt 

innocence,  innVnce  or  innusiince 

confidence,  conf'd'nce  or  confiidunce 

government,  gov'm'nt  or  govunmunt 

liberty,  lib'ty  or  libutty 

accident,  ax'd'nt  or  axiidunt 

opinion,  'pinion  or  iipinion 

polite,  'plite  or  pulite 

propose  pr'pose  or  prupose 


algebray      permanent 

permaynent 

Canayday    armament 

,  armayment 

aymuse        predicament 

predicayment 

aytone          efficacy 

efficaycy 

ay  bate          delicacy 

delicaycy 

SO  GENERAL    HABITS    IN    DELIVERY. 

On  the  other  hand,  many  who  aim  to  be  distinct,  mispro- 
nounce words  in  their  endeavors  to  become  so.     They  often 
change  short  a  and  short  i,  of  unaccented  syllables,  into  the 
(shortened)  long  sounds  of  the  same  letters.     Thus, 
America  becomes  Americay  ligament  becomes  ligayment 
algebra 
Canada 
amuse 
atone 
abate 
So  too— 

civilization         becomes         civilization 
colonization  colonization 

naturalization  naturalization 

organization  '  organization 

generalization  generalization 

We  might  furnish  such  tables  in  reference  to  the  other  vow- 
els, but  a  and  i  are  the  most  important.  Let  us  again  repeat 
that  it  will  be  useless  to  attempt  to  correct  such  faults,  without 
cultivating  a  spirited  accent.  When  they  exist  in  a  high  de- 
gree, the  tone  of  voice  is  generally  drawling. 

CONSONANTS. 

The  English  language  is  remarkably  distinguished  by  a  strong 
enunciation  of  consonants  at  the  ends  of  syllables.  A  large 
number  of  its  syllables  are  also  characterized  by  ending  with 
clusters  of  consonants  which  are  difficult  to  enunciate. 

It  is  highly  useful  in  reference  merely  to  speaking,  to  disci- 
pline the  articulating  organs  in  their  enunciation.  By  so  doing, 
we  characterize  the  general  sound  of  our  utterance  by  a  manly 
firmness  and  energy.  Some  consonants,  however,  are  never, 
even  in  the  most  careless  utterance,  enunciated  indistinctly,  ex- 
cept by  those  who  have  what  is  called  "  an  impediment  of  speech." 


CONSONANTS.  81 

Those  that  are  liable  to  be  imperfectly  articulated,  are 
T  and  D,  K  and  G,  J,  S  and  Z. 

The  care  necessary  to  be  taken  with  consonants  is, 
however,  very  much  reduced  by  the  fact,  that  those  at 
the  beginning  of  syllables  are  not,  as  a  general  rule,  to 
be  dwelt  upon,  or  uttered  with  intentional  energy.  No 
one  fails  in  distinctness  in  reference  to  these. 

It  is  only  at  the  end  of  a  syllable,  that  they  are  liable 
to  be  enunciated  too  weakly  to  be  heard,  or  if  heard,  to 
give  a  feeble  and  effeminate  character  to  the  enunciation. 

Observe,  we  say  feeble  and  effeminate.  Our  language,  when 
correctly  enunciated,  is  remarkable  for  the  manly  energy  which 
is  bestowed  upon  it  by  our  vigorous  accent  and  strong  enuncia- 
tion of  terminal  consonants.  On  this  account,  it  really  seems 
the  most  difficult  of  all  European  dialects  to  enunciate  well. 
Even  the  Polish  and  Russian  are  probably  easier,  by  reason  of 
the  less  close  sounds  of  their  vowels,  and  the  weaker  and  more 
whispering  utterance  of  their  consonants. 

The  following  practical  directions,  however,  are  found  on  tri- 
al to  be  of  so  great  assistance,  as  to  remove  most  of  this  diffi- 
culty in  the  case  of  clusters  of  consonants  at  the  ends  of  sylla- 
bles. 

When  several  consonants  follow  a  vowel,  do  not  dwell 
too  long  on  the  vowel,  but  expend  the  articulating  effort 
principally  on  the  consonants  that  follow. 

Pass  on  rather  rapidly  to  the  very  last  consonant  of 
the  terminal  cluster,  and  let  that  be  dwelt  upon. 

For  example,  in  uttering  the  word  storm'dst,  no  pains  should 
be  taken  with  the  st  preceding  the  vowel,  neither  must  the  vow- 
el be  much  prolonged.  But  as  r,  m,  d,  s  and  t  are  all  to  be  ut- 
tered at  one  impulse,  there  still  is  danger  of  dwelling  too  long 
on  some  one  of  them  before  the  voice  arrives  at  the  t.  There- 

8  » 


GENERAL    HABITS     IN    DELIVERY 


stretch'dst 
prompt's! 
hop'dst 
stopp'dst 


screech'dst 
shrink'st 
harp'dst 
help'dst 


stamp'dst 
thrust'st 
clutch'dst 
splitt'st 


fore  if  we  pass  rather  rapidly  over  all  but  this,  the  organs  will 
be  able  to  enunciate  it  firmly,  and  the  syllable  will  yet  have 
been  extremely  long. 

The  following  table  will  be  both  amusing  and  useful  to  prac- 
tise. In  doing  so,  it  must  be  borne  in  mind  that  in  many  com- 
binations d  sounds'like  t. 

scorch'dst 

splash'dst 

thump'dst 

loath'dst 

To  the  above  rule  for  dwelling  on  the  last  consonant,  there 
is  one  important  exception. 

The  consonants  s  or  sh  should  be  sounded  as  short  as 
possible,  to  avoid  a  disagreeable  hissing. 

There  is  no  danger  that  they  will  not  be  heard,  as  their  sound 
is  so  sharp.  E.  g. 

hiss  push  life's  scraps  six 

miss  flush  depths          lengths  sense 

cross  strifes  scarfs          shrinks          sconce 

Remember  that  after  all  consonants  that  are  not  strict  mutes, 
(P)  *>  ^»)  or  tne  whispering  letters,  f  and  sharp  tht  s  sounds 
like  z.  It  will  contribute  to  firmness  of  general  enunciation, 
to  practise  the  following  table,  and  discipline  the  organs  in 
sounding  s  like  z. 

flags 

drubs 

builds 

steals 

dulls 

seethes 

zones 

spins 


breeds 

spreads 

spends 

rubs 

steers 

speeds 

scuds 

spills 

dwells 

drills 

writhes 

mouths 

scorns 

thrones 

evens 

stuns 

drugs 
ribs 

guards 
babes 

flags 
spoils 
baths 

slugs 
swells 
bathes 

storms 
heavens 

spurns 
sevens 

strives 

shelves 

CONSONANTS.  CO 

starves  lives  lives  moves  saves 

serves  things  strings  thongs  mouths 

clothes  throngs  brings  scares  scores 

flares  stirs  fires  sires  wears 

There  is  a  large  number  of  words,  in  which  the  letters  t  and 
d  are  apt  to  be  dropped  from  a  cluster. 

The  following  table  will  afford  specimens  of  words  that  are 
liable  to  be  pronounced  alike. 

finds  pronounced  like  fines  wilds  pronounced  like  wiles 

minds  mines          cents  sense 

faults  false  acts  ax 

mists  miss  masts  mass 

colds  coals  fields  feels 

chants  chance         drafts  draffs 

In  the  same  way  likewise, 

boldly  is  often  pronounced  bolely 

coldly  colely 

friendly  frienly 

kindly  kinely 

blindly  blinely 

worlds  worls 

yields  yiels 

softly  sofly 

drifts  drifts 

accepts  acceps 

adepts  adeps 

enactment  enacment 

Even  when  such  tables  as  the  two  last  are  before  them,  many 
find  it  difficult  to  make  the  requisite  discrimination.  The  fol- 
lowing direction  will  therefore  be  found  useful,  not  only  to  such, 
but  to  all  who  wish  to  unite  distinctness  with  grace. 

Articulate  t  or  d,  in  connexion  with  the  following,  and  not 
with  the  preceding  consonants.  Enunciate  the  words  as  if 


84  GENERAL     HABITS     IN     DELIVERY. 

they  were  divided  as  follows,  yet  let  the  utterance  be  rapid  and 
without  a  break  in  the  graceful  smoothness  that  is  necessary, 
soun-dly  roun-dly  pos-ts  coas-ta 

direc-tly  exac-tly  drif-ts  gif-ts 

sof-tly  sof-tness  attemp-ts        exemp-ts 

swif-tly  enac-tment        dissen-ts         has-tes 

erec-tness  frien-dly  las-ts  lis-ts 

To  show  the  correspondence  of  the  above  direction  with  the 
effort  which  the  articulating  organs  naturally  make,  we  will 
mention  the  well  known  fact,  that  the  low  Londoners,  or  cock- 
neys, as  they  are  called,  make  two  syllables  of  words  of  one  syl- 
lable that  end  in  sts.  Thus,  posts  they  pronounce  postis ;  Jistst 
Jistis,  &c. 

ARTICULATION    OF   POLYSYLLABIC    WORDS. 

Upon  the  strong  accent,  which  characterizes  the  English  lan- 
guage, depend  as  has  before  been  suggested,  many  of  the  most 
important  points,  both  of  its  articulation  and  pronunciation. 

The  consonants  indeed,  of  unaccented  syllables,  are 
to  be  enunciated  as  perfectly  as  in  those  which  are  un- 
der the  accent ;  but  the  vowels  have  a  weak,  and  often 
to  some  extent,  an  obscure  sound. 

It  has  been  mentioned  also,  that  it  is  only  by  means  of  a  de- 
cidedly strong  and  spirited  accent,  that  a  distinct  articulation  of 
our  language  can  be  effected  with  rapidity  and  fluency. 

It  is  a  fact  to  which  there  are  but  few  exceptions,  that 
in  English,  the  accented  syllable  of  a  word  is  made  long. 
Hence  it  is  one  of  the  most  important  rules  for  easy  and 
graceful  articulation,  to  dwell  upon  the  principal  accented 
syllable. 

After  so  doing,  the  voice  is  enabled  to  glide  fluently  over  the 
unaccented  ones  that  follow.  When  likewise  the  accented  syl- 


POLYSYLLABIC    WORDS. 


85 


lable  is  preceded  by  such  as  are  unaccented,  the  voice  passes 
distinctly,  yet  lightly  over  them,  and  then  breaks  out  into  strong 
utterance  on  that  which  receives  the  accent.  Take  such  a 
word  as  in-ac-CES-si-ble-ness.  The  voice  glides  lightly  along 
on  the  first  two  syllables,  as  if  preparing  itself  for  an  effort  on 
the  accent ;  it  then  bursts  out  upon  the  syllable  ces,  and  dwells 
long  enough  on  it  to  acquire  an  impetus,  that  carries  it  "  trip- 
pingly," (to  use  Shakespeare's  expression,)  over  the  remainder 
of  the  word.  In  this  progress  of  the  voice,  no  conscious  regard 
is  bestowed  upon  the  secondary  accents.  These  are  quite 
light,  and  it  is  only  the  primary  one  upon  which  any  real  exer- 
tion is  made.  The  following  table  will  illustrate  this  principle. 


irreconcilably 

impenetra&iVity 

undisfmguishable 

characteristically 

&/asphemously 

magistracy 

invariableness 

inconszWerableness 

ob/ectionableness 

unpremea'itatedly 

disciplinary 

peremptorily 

temporarily 

secondarily 


individuality 
mediatorial 
irremediably 
phjlanMropically 


etymo/ogically 

unimaginable 

mathematically 

instantaneously 

incommensurably 

cwstomarily 

arbitrarily 

momentarily 

/roZicsomeness 

This  is  perhaps  the  most  suitable  place  in  which  to  introduce 
an  important  principle  in  pronunciation,  which  depends  entirely 
upon  the  management  of  accent. 

The  principle  is,  that  all  syllables  which  follow  the 
primarily  accented  one,  are  to  be  uttered  as  lightly  as  is 
consistent  with  rendering  them  barely  audible. 

8* 


insurmowwtablenesg 

circumstantially 

inexcwsableness 

physiognomical 

unphilosopAically 

vigilantly 

infractableness 

inlerminableness 

supplicatory 

trigonomefrically 

extravagantly 

perpendicularly 

rapturously 

lu  ke  warm  ness 


86 


GENERAL    HABITS     IN    DELIVERY. 


When  in  such  cases,  the  last  syllables  of  the  word  contains  a 
long  vowel,  or  a  short  one  with  two  or  more  consonants,  many 
persons  suffer  it  to  issue  with  a  semi-accent,  or  with  an  inelegant 
drawl,  either  of  which  destroys  the  trippingness  of  the  utterance. 
The  following  table  will  furnish  examples.  In  pronouncing  such 
words,  the  syllables  that  succeed  the  accented  one  should  be 
made  as  short  and  light  as  possible.  For  example,  appetite 
should  not  become  appetyet. 

telescope 

microscope 

substitute 

vagabond 

rarioloid 

equipoise 

crucify 

turpentine 

pharisee 

scepticism 

caricature 

concentrate 

investigate 

The  same  principle  explains  a  peculiarity  of  our  American 
pronunciation,  which  is  often  objected  to  by  the  English.  Such 
words  as  territory,  we  are  apt  to  pronounce  (to  use  an  English 
criticism)  terri-tory :  so  likewise  matrimony  becomes  matri- 
mony. Walker  directed  to  give  the  short  u  in  these  words,  as, 
territurry.  But  all  that  is  required  is  an  accent  on  the  first  syl- 
lable, sufficiently  strong  to  cause  the  voice  to  glide  trippingly 
over  the  others. 

matrimony  territory  controversy 

patrimony  repertory  presbytery 

ceremony  q/Fertory  awditdry 

testimony  adversary  tributary 


appetite 

contraband 

persecute 

countersign 

prosecute 

cataract 

superfine 

execute 

sf^trahend 

intercourse 

ffz^nify 

hypoMenuse 

anecdote 

s/wplify 

sarcasm 

renovate 

gratify 

paraphrase 

reservoir 

suftbcate 

tomahawk 

rampart 

diphthong 

arrogate 

glorify 

lukewarm 

pecTigree 

rAewmatism 

monotone 

mysticism 

methodize 

judicature 

/emperature 

economize 

particularize 

naturalize 

remonstrate 

conmunicate 

intimidate 

POLYSYLLABIC     WORDS.  87 

While  it  is  commonly  noticed  that  the  English  style  of  pro- 
nunciation differs  considerably  from  the  American,  few  or  none 
have  explained  in  what  the  difference  consists.  The  former 
however,  will  be  found  on  observation,  to  use  less  nasality  of 
voice,  and  to  employ  a  much  stronger  accent.  The  Americans 
incline  to  drawl.  In  the  English  West  Indies,  the  drawl  is  so 
ludicrous,  and  is  combined  with  so  many  other  errors,  that  the 
late  Mr.  Rafinesque,  who  was  a  Sicilian  by  birth,  classified  the 
West  Indian  mode  of  pronouncing,  as  a  distinct  dialect  of  the 
English  language ! 

We  mentioned  lately,  (page  81,)  that  it  is  only  a  part  of  the 
consonants  that  are  liable  to  be  imperfectly  articulated  by  those 
who  have  no  lisp  or  impediment  of  speech.  Perhaps  we  ought 
to  devote  a  few  words  to  explaining  the  point.  Take  such 
words  as  back,  bag,  bed,  hat,  buzz,  age.  It  is  very  common  to 
hear  them  uttered  with  a  tendency  to  a  drawl — not  amounting 
however  to  a  true  drawl — which  proceeds  from  a  feeble  enun- 
ciation of  the  terminal  consonant.  From  their  imperfect 
strength  of  articulating  organs,  children  always  exhibit  this  pe- 
culiarity. We  will  endeavor  to  illustrate  it  by  the  following 
mode  of  spelling,  ba-ag,  ha-at,  &c.  Still  farther  to  explain  the 
point,  we  will  mention  the  fact,  that  all  such  words  should  be 
pronounced  with  that  shortening  of  the  vowel,  and  force  on  the 
final  consonant,  that  is  represented  by  the  ancient  mode  of 
spelling  such  words,  viz.  bagge,  hatte,  &c.  That  is,  they 
should  have,  when  not  followed  by  another  word,  the  vocula,  as 
it  is  called,  which  is  a  whispering  sound  of  short  e  or  u  after  the 
consonant.  This  vowel  is  represented  in  French  by  the  mute,  e 
of  that  language.  It  will  readily  be  perceived  that  there  is  a 
connexion  between  this  firm  and  strong  enunciation,  and  the 
habit  of  strongly  accenting. 


88  GENERAL     HABITS     IN     DELIVERY. 


PRONUNCIATION. 

As  long  as  it  is  the  main  object  of  the  instructor  to  qualify 
students  for  practical  speaking,  he  will  hardly  find  time  and  op- 
portunity for  correcting  many  errors  in  pronunciation.  During 
the  excitement  of  earnest  delivery,  the  minds  of  unpractised 
speakers  can  seldom  be  sufficiently  at  leisure,  to  allow  of  chang- 
ing fixed  habits  in  regard  to  this  point. 

It  would  also  seem  scarcely  advisable  to  occupy  the  time  of 
the  younger  classes  in  a  college,  with  lessons  or  lectures  on 
pronunciation.  Coming  from  different  districts  of  the  country, 
they  often  bring  with  them  local  peculiarities ;  but  these  are 
soon  lost,  and  the  average  pronunciation  in  a  large  institu- 
tion, corresponds  sufficiently  with  that  of  men  of  education 
throughout  England  and  the  United  States.  Those  who  may 
wish  to  investigate  the  subject  with  peculiar  care,  can  do  this 
by  themselves  with  the  aid  of  books,  and  in  leisure  moments. 
For  formal  lessons  or  lectures  on  the  subject,  the  Senior  year 
would  seem  to  be  most  suitable.  If  however,  formal  and  full 
instruction  on  this  point  be  deferred  till  that  period,  it  ought  to 
be  given  in  a  linguistical,  and  if  possible,  in  a  learned  manner. 

The  pronunciation  which  formerly  prevailed  in  the  New 
England  states,  and  which  in  the  parent  country  still  remains 
among  the  uneducated  classes,  is  ill  adapted  to  the  purposes  of 
delivery,  and  on  this  account  more  than  from  the  influence  of 
fashion,  has  now  been  universally  rejected  by  public  speakers 
in  both  countries.  It  is  not  only  more  guttural  and  nasal,  but 
more  indefinite  and  obscure  in  the  sounds  of  the  vowels.  It  also 
fails  of  conforming  to  that  great  law  in  English  phonology, 
which  requires  us  to  avoid  all  hiatus,  and  all  difficult  transi- 
tions in  the  utterance  of  letters,  by  means  of  smooth  and  gliding 
sounds.  What  is  now  cultivated  as  a  genteel  pronunciation,  is 
not  only  more  fluent  and  facile,  and  consequently  better  suited 


PRONUNCIATION.  89 

to  rapid  utterance  in  familiar  intercourse,  but  in  public  speak- 
ing, is  capable  of  being  rendered  more  easily  audible  and  intel- 
ligible, without  disagreeable  loudness.  This  pronunciation  is 
as  yet  better  exhibited  in  the  middle  and  southern  states,  than 
in  New  England.  The  writer  once  asked  an  educated  Spanish 
gentleman,  in  which  part  of  our  country  he  found  it  easiest  to 
understand  our  language  when  he  listened  to  the  conversation 
of  the  people.  He  replied,  in  the  southern. 

It  is  remarkable  that  up  to  this  time,  Walker  has  been  the 
only  author  who  has  attempted  to  investigate  systematically,  the 
laws  of  English  pronunciation.  No  other  writer  has  done  more 
than  make  detached  and  fragmentary  examinations  of  the  sub- 
ject. Indeed,  scarce  any  other  writer  in  our  tongue  has  appa- 
rently had  a  clear  conception  that  the  tendencies  to  change  of 
pronunciation  in  any  living  dialect  follow  certain  definite  laws, 
which  laws  are  in  accordance  with  the  genius  of  the  language, 
and  the  intellectual  and  social  habits  of  the  people.  Yet  Walker 
was  as  modest  as  he  was  industrious,  and  apparently  never  im- 
agined it  possible  that  an  absurd  effort  might  be  made,  to  set  up 
his  dictionary  as  an  immutable  standard  by  which  to  fix  forever 
the  pronunciation  of  a  living  language  spoken  all  over  the  world. 
Those  who  declaim  against  Walker,  often  exhibit  a  surprising 
ignorance  of  the  principles  which  he  has  investigated  in  the  in- 
troduction to  his  dictionary,  and  always  manifest  a  want  of  ac- 
quaintance with  the  fact,  that  changes  in  pronunciation  are 
principally  caused  by  the  more  or  less  unconscious  efforts  made 
by  persons  of  cultivated  minds  and  manners,  to  be  at  once  distinct 
and  fluent,  as  well  as  to  conform  to  the  peculiar  analogies  and 
laws  of  their  vernacular  tongue.  As  the  study  of  the  present 
subject  is  however,  not  very  necessary  to  those  for  whom  this 
work  is  written,  it  does  not  conform  to  its  plan  and  objects  to 
treat  of  it  in  detail.  A  discriminating  and  judicious  classifica- 
tion of  the  most  prevalent  errors  in  pronunciation,  may  be  found 
in  the  original  and  valuable  work  of  Professor  Goodrich,  on  elo- 
cution, 


90  GENERAL     HABITS     IN     DELIVERY. 

It  ought  to  be  remarked,  that  old-fashioned  modes  of  pro- 
nunciation are  not  necessarily  vulgar.  Vulgarity  in  this  re- 
spect depends  on  vulgarity  of  articulation  and  tone  of  voice,  or 
on  mere  affectation  of  refinement  and  fashion.  The  most  vulgar 
pronunciation  heard  in  our  country,  is  that  of  those  who  affect 
what  are  called  Walkerianisms.  They  who  do  this,  violate 
Walker's  own  principles  more  than  those  of  any  other  writer. 
His  taste  was  manly  and  truly  English  ;  and  it  is  strange 
that  merely  fashionable  and  "  Frenchified"  affectations,  should 
be  charged  to  the  account  of  the  very  man  who  was  instant  and 
earnest  in  opposing  them. 

Walker  was  a  man  of  education,  and  was  accustomed  to  the 
most  learned  and  refined  society  of  his  day.  His  dictionary  was 
suggested  by  the  request  of  one  of  the  universities  of  England, 
that  he  should  deliver  a  course  of  lectures  on  the  laws  of  English 
orthoepy.  Yet  the  pronunciation  of  our  tongue  has  become 
more  regular  since  his  day,  and  the  changes  that  have  taken 
place  may  be  found  in  the  work  of  Jameson. 

For  common  reference,  the  student  of  this  subject  needs  noth- 
ing more  than  the  table  prefixed  to  the  abridged  octavo  edition 
of  Webster's  dictionary.  In  this  table,  he  will  find  the  modes 
of  pronunciation,  adopted  by  different  orthoepists,  arranged  in 
the  order  of  the  times  in  which  they  wrote.  If  he  carefully  ex- 
amines it,  he  will  feel  inclined  to  be  guided  in  general  by  Walk- 
er and  Jameson,  and  when  these  differ,  generally  by  the  latter. 
There  is  a  strange  mistake  prevalent  respecting  the  late  honored 
and  venerated  Dr.  Webster,  that  he  made  it  one  of  the  objects 
of  his  great  work,  to  give  a  full  exhibition  of  the  pronunciation 
of  our  language.  Such  was  neither  one  of  his  real  nor  pro- 
fessed objects.  In  none  of  his  various  and  numerous  works, 
has  the  present  writer  been  able  to  find  any  thing  from  which 
he  could  even  conjecture  what  sound  Dr.  Webster  thought 
ought  to  be  given  to  the  letter  M,  in  such  words  as  nature  and 
feature.  In  his  "  Elementary  spelling  book,"  indeed,  he  fur- 


PRONUNCIATION.  91 

nishes  a  table  of  a  few  such  words,  bat  gives  no  intimation  of 
the  manner  in  which  they  ought  to  be  pronounced,  and  merely 
mentions  that  the  best  public  speakers  in  England  and  this 
country  do  pronounce  them  in  a  certain  way,  viz.  with  the  short 
M  preceded  by  y.  It  should  be  observed  however,  that  in  this 
statement  the  learned  author  is  unquestionably  mistaken,  as  it 
is  the  long  and  not  the  short  u  that  is  required  by  distinctness, 
euphony  and  analogy,  and  such  is  undoubtedly  the  custom  of 
speakers  of  the  highest  cultivation.  In  his  "  American  spelling 
book,"  Dr.  Webster  in  too  many  cases,  directed  to  pronounce 
different  unaccented  vowels  alike,  giving  as  an  example,  that 
rural  andjitfuj,  were  pronounced  with  the  same  vowel  sound  in 
their  last  syllables.  In  a  "  table  of  words  different  in  meaning, 
but  alike  in  pronunciation,"  he  gives  the  two  words  chronical 
and  chronicle,  as  being  the  same  in  sound. 

No  one  who  has  hitherto  written  on  this  subject  seems  to 
have  been  aware,  that  the  ultimate  test  of  the  true  sound  of  un- 
accented vowels,  is  only  to  be  found  by  trying  words,  with  a 
perfectly  clear  and  open  tone  of  voice,  in  the  deliberate  articu- 
lation required  for  elevated  delivery  before  large  audiences — in 
the  artistical  recitation  of  poetry,  or  in  vocal  music.  In  these 
circumstances — or  at  least  in  the  two  latter — every  unaccented 
vowel  must  have  a  definite  sound.  In  vocal  music,  especially, 
no  indefinite  vowel  sounds  are  ever  admissible.  If  the  unac- 
cented vowels  are  tried  by  these  tests,  Walker  will  be  found  to 
have  investigated  the  subject  with  remarkable  accuracy. 

Some  however  object,  that  in  the  rapid  utterance  of  conver- 
sation, such  perfection  of  articulation  is  unattainable.  In  the 
case  of  many  of  the  thick  and  husky  voices  of  men,  this  ob- 
jection is  undoubtedly  well  founded.  But  let  those  who  make 
it,  listen  to  the  articulation  of  unaffected  and  elegant  women, 
who  are  distinguished  for  beauty  of  conversation,  and  they  will 
find  that  the  minutest  refinements  directed  by  Walker,  though 
unconsciously,  are  yet  habitually  exhibited. 


92  GENERAL     HABITS     IN     DELIVERY. 

The  plan  and  object  of  this  work,  require  no  other  directions 
to  be  given  for  pronunciation  than  the  following. 

In  general,  avoid  pronouncing  in  any  way  that  will 
attract  attention,  either  by  its  erroneousness  or  its  singu- 
larity. If  your  audience  are  led  to  take  any  particular 
notice  of  your  mode  of  pronouncing,  their  attention  will 
be  distracted  for  a  time  from  the  main  object  of  the 
speaker. 

Dr.  Rush  observes,  that  "  for  every  word  mispronounced,  the 
audience  will  miss  at  least  ten  words  that  follow." 

If  you  are  a  man  of  education,  pronounce  in  such  a  style  as 
the  audience  are  accustomed  to  expect  from  well  educated  gen- 
tlemen. 

Remember  that  it  is  not  one  of  the  necessary  duties  of  a 
public  speaker,  to  teach  new  modes  of  pronunciation  to  those 
whom  he  addresses.  For  example,  though  in  some  parts  of 
our  country  the  English  pronunciation  of  the  word  deaf  (def ) 
is  now  established,  and  will  be  expected  from  a  speaker  of  ed- 
ucation and  refinement,  yet  it  would  be  more  useful  to  avoid  it 
when  delivering  an  address  in  a  part  of  the  country  in  which  it 
had  never  been  heard. 

Remember  that  your  pronunciation  can  never  be  refi- 
ned and  graceful,  as  long  as  your  articulation  remains 
slovenly  and  obscure. 

Some  of  the  most  important  errors  in  pronunciation,  have 
already  been  pointed  out  in  the  preceding  chapter  on  articula- 
tion. Before  dismissing  the  subject,  reference  ought  to  be  made 
to  the  valuable  labors  of  the  Rev.  A.  B.  Chapin,  in  regard  to 
the  laws  of  correspondence  between  the  orthoepy  and  the  or- 
thography of  our  language.  They  are  exhibited  in  his  "  Spell- 
ing Book." 


CONTINUOUS    DISCOURSE. 

CHAPTER  V. 

CONTINUOUS    DISCOURSE. 


IN  the  previous  chapters  we  have  considered,  first,  the  gene- 
ral qualities  and  habits  of  the  voice ;  next,  those  requisites  of 
expression  which  are  common  to  all  delivery ;  and  in  the  last, 
the  management  of  the  voice  in  articulating  and  pronouncing 
single  words. 

The  present  chapter  will  be  devoted  to  the  practical  difficul- 
ties which  every  one  experiences  to  a  greater  or  less  extent, 
when  he  first  attempts  to  exhibit  these  requisites  during  the  flow 
of  continuous  discourse. 

The  facts  which  we  shall  proceed  to  explain,  may  readily  be 
observed  when  we  investigate  the  natural  action  of  the  organs 
of  speech  in  conversation,  and  are  still  more  striking  in  the  ut- 
terance of  accomplished  orators.  Those  however  who  have 
never  practised  public  speaking,  experience  more  difficulty  in 
making  their  delivery  natural  in  these  requisites  than  in  any 
others.  If  the  room  to  be  filled  is  quite  small,  the  delivery  ap- 
proximates in  some  respects  to  conversation,  and  the  difficulties 
alluded  to  are  less  felt.  But  when  it  is  large,  it  is  only  in  con- 
sequence of  practice  in  large  rooms  or  in  the  open  air,  that  a 
speaker  readily  learns  to  use  his  voice  in  a  manner  so  natu- 
ral and  easy,  as  to  be  entirely  free  from  vociferation  or  rant  on 
the  one  hand,  or  a  tedious  monotony  on  the  other.  It  must  be 
confessed  that  teachers  of  elocution  have  hitherto  failed,  in 
most  cases,  of  accomplishing  for  their  pupils  what  has  been  ex- 
pected from  them.  There  are  probably  but  two  principal  rea- 
sons for  this  failure — one,  the  habit  of  dwelling  chiefly  on  mi- 
nute and  comparatively  uninfluential  points  of  enunciation  ; 
and  the  other  and  more  essential  one,  that  of  generally  giving 

9 


94  GENERAL     HABITS     IN     DELIVERY. 

their  instruction  in  small  rooms,  and  neglecting  to  investigate 
the  principles  upon  which  depends  the  adaptation  of  delivery 
to  large  ones. 

Though  a  chapter  will  hereafter  be  devoted  to  the  subject 
last  mentioned,  yet  the  above  remarks  have  been  thought  ne- 
cessary in  this  place,  because  the  importance  of  the  topics 
which  we  are  now  to  discuss  is  more  readily  perceived  when 
reference  is  made  to  large  assemblies.  It  may  be  well  still  farther 
to  anticipate,  by  mentioning  that  those  who  can  readily  accommo- 
date their  reading  or  speaking  to  very  large  audiences,  find  no 
difficulty  whatever  in  contracting  and  reducing  it  sufficiently 
for  small  ones.  On  the  other  hand,  those  whose  whole  experi- 
ence has  been  in  speaking  to  a  small  number,  have  a  new  art 
to  learn  when  they  first  attempt  to  address  several  hundreds  or 
thousands.  The  truth  of  this  last  assertion  is  sometimes  deci- 
dedly manifest,  when  an  opportunity  is  afforded  of  comparing 
lawyers  with  clergymen,  in  addresses  before  popular  assemblies. 

ACCENT    OF    CONSTRUCTION,    OR    GROUPING    OF    WORDS. 

This  is  one  of  the  most  important  principles  in  the  phonolo- 
gy of  any  language,  and  it  is  surprising  that  it  has  not  hitherto 
received  more  attention.  It  seems  to  have  been  first  described 
by  Walker,  and  no  longer  ago  than  the  time  of  Dr.  Johnson. 
The  Greek  and  Roman  grammarians  recognized  it  in  the  case 
of  some  words  to  which  they  gave  the  name  of  enclitics,  but 
failed  to  discover  the  extent  of  the  principle  upon  which  de- 
pended the  character  of  the  few  words  which  they  thus  named. 
Walker  gave  the  principle  no  name,  and  indeed  appears  not 
fully  to  have  comprehended  it,  since  he  notices  it  only  in  rela- 
tion to  emphasis.  The  first  who  gave  it  a  name  was  Guest,  in 
his  great  work  on  English  Rhythms,  published  a  few  years 
since.  From  him  we  have  adopted  that  of  accent  of  construc- 
tion, which  appears  at  the  head  of  this  section.  The  other  ap- 


ACCENT     OF    CONSTRUCTION.  95 

pellation,  that  of  the  grouping  of  words,  we  have  generally  em- 
ployed in  familiar  teaching,  because  it  so  readily  explains  itself, 
and  corresponds  so  well  with  the  action  of  the  mind  when  we 
read  or  speak  from  a  written  or  printed  page. 

The  Latin  word  signifying  to  read  is  legere,  which  properly 
means  to  gather.  As  the  eye  runs  along  the  uniform  lines  of 
a  printed  page,  the  mind  gathers  the  words — not  separately, 
however,  but  into  short  groups.  In  a  corresponding  manner, 
the  vocal  organs  do  not  attempt  to  utter  each  word  by  itself,  but 
on  the  contrary,  enunciate  a  group  of  several  words  with  a  sin- 
gle impulse  of  the  voice.  The  mind  connects  the  words  in 
groups,  so  that  each  group  shall  express  an  idea.  The  groups 
are  then  individualized  in  the  vocal  effort,  by  means  of  a  strong 
accent  on  the  principal  syllable  of  each.  For  example,  in  the 
sentence,  "In  the  beginning  was  the  word,"  there  are  two 
groups,  viz.  in  the  beginning  and  was  the  word.  Each  of  these 
has  but  one  primary  accent,  thus :  in  the  beginning — was 
the  word.  Each  is  uttered  with  precisely  the  same  vocal  ac- 
tion as  if  it  were  a  polysyllabic  word.  In  the  same  way  as  in 
the  word  articulate  the  exclusive  accent  on  the  i  gives  a  unity 
to  the  group  of  syllables,  and  thus  individualizes  the  word,  so 
it  is  with  the  exclusive  stress  on  the  accented  vowel  of  the  above 
groups  of  words. 

We  repeat  again,  that  this  great  law  of  language  is  of  funda- 
mental importance  in  reference  to  learning  to  read  or  speak. 

In  fact,  but  two  things  are  required  to  make  any  one  who 
has  a  cultivated  mind,  a  speaker ;  and  it  is  curious  likewise  that 
these  two  are  closely  and  almost  inseparably  connected  in  our 
natural  impulses.  These  are,  first,  the  habitual  command  of 
the  speaking  voice ;  and  secondly,  the  habit  of  applying  it  to 
words  taken  in  groups. 

In  the  second  part  of  this  work,  we  shall  again  resume  this 
subject,  and  show  how  the  groups  are  often  lengthened  by  the 
still  stronger  accentual  and  individualizing  power  of  emphasis. 


96  GENERAL    HABITS     IN    DELIVERY. 

At  present  we  must  confine  ourselves  to  the  most  elementary 
form  of  the  principle. 

The  formation  of  the  groups  depends  on  the  following  facts 
in  regard  to  language. 

First,  certain  words  denote  complete  ideas  by  them- 
selves. These  are  verbs  and  nouns.  Adjectives  also 
are  a  class  of  nouns,  and  receive  in  general  the  same 
decided  stress. 

Secondly,  all  other  parts  of  speech,  viz.  articles,  pro- 
nouns, auxiliary  verbs,  adverbs,  prepositions  and  con- 
junctions, are  used  only  in  subordination  to  those  of  the 
first  class,  and  are  connected  with  them  in  utterance. 

Those  of  the  first  class  receive  a  strong  accent  on  one 
syllable,  and  it  is  upon  this  syllable  only  that  a  decided 
effort  of  the  mind  and  voice  is  made. 

Those  of  the  second  class  are  unaccented^  (as  they 
generally  have  but  one  syllable,)  and  are  connected  in 
utterance  with  the  others. 

No  strong  and  voluntary  effort  is  made  on  them.  Being 
grouped  with  the  others,  they  are  uttered  with  precisely  the 
same  weak  and  unconscious  exertion  as  is  made  on  the  unac- 
cented syllables  of  polysyllabic  words.  If  indeed  an  adverb, 
or  other  word  of  this  class,  is  itself  a  polysyllabic  word,  one  of 
its  syllables  receives  an  accent ;  but  even  in  this  case,  the  ac- 
cent is  generally  less  strong,  and  the  word  likewise  requires  to 
be  closely  connected  with  one  of  the  first  class.  The  only  ex- 
ceptions are,  in  cases  of  emphasis  or  of  separation  by  interven- 
ing words. 

The  forcible  efforts  made  in  speaking,  are  thus  confyied  prin- 
cipally to  nouns,  adjectives  and  verbs.  With  all  other  words, 
(if  they  are  not  emphatic,)  no  effort  is  necessary,  except  to  ar- 
ticulate them  distinctly. 


ACCENT     OF     CONSTRUCTION.  97 

It  deserves  also  to  be  again  mentioned,  that  even  on  the  most 
important  words,  all  voluntary  effort  is  restricted  to  the  ACCENT- 
ED SYLLABLE  of  each.  (Vide  the  preceding  chapter.) 

We  thus  find  a  wonderful  provision  of  nature  for  diminishing 
the  labor  necessary  for  speech.  A  strong  action  of  the  vocal 
muscles  alternates  regularly  with  a  weaker  one ;  and  the  alter- 
nation is  between  fatiguing  excitement  and  effort,  and  compar- 
ative rest. 

Take  for  example  the  following  sentence. 

"  True  eloquence  must  exist  in  the  man,  in  the  subject,  and 
in  the  occasion." 

When  divided  according  to  the  natural  grouping  of  words  in 
deliberate  speaking,  and  also  according  to  what  in  the  second 
part  we  shall  term  the  phrases  in  delivery,  it  will  stand  thus  : 

True  efoquence 

must  exz's*         in  the  man, 
in  the  subject, 
and  in  the  occasion. 

We  thus  perceive  that  although  there  are  twenty  syllables  in 
the  sentence,  but  six  of  them  are  accented,  while  it  is  upon 
these  alone  that  strong  vocal  efforts  are  made. 

One  more  example  will  be  sufficient  for  our  present  purpose, 
as  most  of  our  extracts  for  practice  will  hereafter  be  divided. 
We  remarked  above,  that  adverbs  and  other  dependent  words 
are  naturally  connected  with  more  important  words,  and  that 
their  accent,  when  they  have  one,  is  weaker.  Yet  when  deliv- 
ery is  slow  and  deliberately  emphatic,  the  principle,  though  it 
still  holds  true,  is  less  observable.  In  the  following  example, 
we  shall  not  attempt  to  exhibit  this  slight  distinction. 

"The  injustice  of  England  has  driven  us  to  arms;    and 
blinded  to  her  own  interest  for  our  good,  she  has  obstinately 
persisted,  till  independence  is  now  within  our  grasp." 
9* 


93 


GENERAL     HABITS     IN     DELIVERY. 


Arranged  according  to  the  grouping  and  phrasing  of  earnest 
speaking,  this  will  stand  as  follows : 


The  in/Mstice         of  E?ig\znd 

has  driven  us         to  ARMS  ; 

and,  blinded         to  her  own  interest 

she  has  obstinately         persisted, 

till  inde/^wdence 

is  now         within  our  GRASP. 


for  our  good, 


It  must  not  be  inferred  from  our  remarks,  that  this  part  of  de- 
livery is  necessarily  to  be  learned  by  inspecting  a  passage 
which  we  are  preparing  to  speak,  and  dividing  the  words  into 
two  classes  according  to  their  grammatical  nature.  In  practice, 
the  subject  is  attended  with  no  difficulty.  The  act  of  group- 
ing being  a  natural  one,  is  readily  made  habitual  by  efforts  to 
speak  deliberately  and  with  natural  ease.  We  shall  proceed  to 
explain  its  connection  with  audibility  and  the  easy  play  of  the 
breath  in  speaking.  It  will  also  be  seen  how  the  principle  re- 
moves all  the  difficulty  that  has  formerly  been  felt  in  deter- 
mining where  to  make  pauses,  when,  as  so  often  happens,  they 
are  required  for  the  sake  of  taking  breath,  and  in  situations 
where  there  is  no  mark  of  punctuation. 

In  the  preceding  chapter,  the  remarkable  fact  has  been 
stated,  that  provided  the  articulation  is  reasonably  per- 
fect, and  the  key  of  the  voice  is  sustained,  the  unac- 
cented syllables  of  polysyllabic  words  will  be  heard  by 
the  largest  audiences,  provided  the  speaker  makes  suffi- 
cient effort  to  render  the  accented  ones  audible.  The 
same  is  true  of  groups  of  words.  Even  when  these  are 
rendered  very  long  by  strong  emphasis,  the  same  pro- 
vision is  made  by  nature. 

From  ignorance  of  this  fact,  speakers  sometimes  fatigue 
themselves  unnecessarily.  In  the  case  of  those  who  contract 


ACCENT     OF     CONSTRUCTION.  99 

a  disease  of  the  throat  or  lungs  from  the  mere  act  of  speaking, 
the  immediate  cause  is  liable  to  be  some  unnecessary  exertion, 
or  the  habit  of  not  taking  breath,  with  that  frequency  which 
the  grouping  of  the  words  permits. 

In  strong  delivery  before  a  large  audience,  a  natural  and  easy 
speaker  will  sometimes  take  breath  before  every  group.  This 
taking  breath  is  more  or  less  unconscious  on  his  part,  and  not 
readily  perceptible  to  spectators ;  but  if  from  bad  habits  he 
omits  this  natural  act,  he  will  either  be  feeble  and  inexpressive, 
or  will  speak  with  great  and  painful  labor. 

In  rapid  utterance,  breath  is  not  taken  so  often,  but  only  at 
the  end  of  phrases  of  a  sentence,  instead  of  between  the  groups 
of  words.  Yet  even  in  this  case,  the  issuing  flow  of  the  breath 
is  momentarily  CHECKED  after  each  group,  and  a  new  impulse 
given  to  it  upon  the  succeeding  one.  Unless  this  be  done,  we 
cannot  even  individualize  words  by  accent,  or  exhibit  any  nat- 
ural speech.  Persons  who  are  constitutionally  deficient  in  phys- 
ical strength  or  animation,  or  who  are  in  feeble  health,  must 
pay  careful  attention  to  free  respiration  in  speaking.  By  cul- 
tivating a  habit  of  taking  breath  deeply  and  frequently,  and  at 
the  same  time  checking  the  issue  of  it  after  every  group,  the 
chest  will  be  kept  always  full,  and  the  feeblest  voice  will  fill  the 
largest  room. 

It  is  between  the  groups  of  words,  that  rhetorical  and 
emphatic  PAUSES  occur ;  and  it  will  be  found  on  trial, 
that  pauses  of  the  greatest  length  may  be  made  after 
any  group  of  words,  (except  between  an  adjective  and 
substantive,)  without  injury  to  the  sense  of  the  sentence. 

It  is  important  to  notice,  that  pauses  between  the 
groups  are  not  ordinarily  for  the  sake  of  rest  after  the 
effort  which  has  just  been  made,  but  in  the  way  of  pre- 
paration for  the  distinct  and  expressive  utterance  of  the 
next  group. 


100  GENERAL    HABITS    IN    DELIVERY. 

It  is  solely  by  regulating  the  succession  of  the  groups  of 
words,  that  a  speaker  adapts  his  voice  to  the  extent  of  his  au- 
dience or  the  size  of  a  room,  in  SLOWNESS. 

In  the  same  way  likewise,  is  a  voice  adapted  to  the  ECHO  of 
a  room. 

Finally,  a  harmonious  or  a  varied  RHYTHM  depends  on  the 
management  of  the  groups. 

When  we  come,  in  the  second  part  of  our  work,  to  treat  of 
Emphasis,  and  of  Rhetorical  Groups  and  Phrases,  we  shall  find 
that  the  groups  of  words  actually  uttered  with  one  impulse  of 
the  voice,  are  frequently  very  long.  Those  of  great  length, 
however,  receive  an  impulse  of  the  voice  on  an  emphatic  word, 
which  is  proportioned  to  the  length  of  the  group,  and  which 
makes  them  as  fluent  and  facile  in  enunciation  as  shorter  ones. 

Before  leaving  this  subject,  a  very  important  caution 
must  be  given,  not  to  suffer  the  above  or  any  subsequent 
directions  to  be  so  put  in  practice,  as  to  interfere  with 
the  smooth  and  graceful  flow  of  words  in  discourse. 

Those  who  practise  articulation  and  other  requisites  of  dis- 
tinct enunciation,  are  liable  to  acquire  a  broken  and  irregular 
flow  of  utterance.  On  the  contrary,  great  care  must  always  be 
exercised  to  give  to  the  slowest  speaking,  and  that  which  most 
abounds  in  rhetorical  pauses,  a  tone  of  continuity ,  that  carries 
the  minds  of  the  hearers  constantly  onwards.  (Vide  the  con- 
clusion of  the  subsequent  section,  on  Continued  Emphasis.) 

DISTINCT    SEPARATION    OF   SYLLABLES. 


SUSTAINED     EXPRESSION.  101 

In  very  slow  speaking,  this  complete  separation  is  necessary, 
to  keep  the  rate  of  delivery  equable  and  easy. 

In  most  cases,  a  speaker  will  be  sufficiently  distinct  to  be  in- 
telligible, if  he  keep  the  groups  well  separated  from  each  oth- 
er ;  but  in  slow  delivery,  grace  or  beauty,  and  often  pointed  ex- 
pression, require  that  he  separate  also  the  words  of  the  groups, 
and  even  to  some  extent  the  syllables  of  words  from  each  other. 

EXAMPLE. 
/ 

HEAVEN         AND         EARTH 

WILL         WIT-NESS, \ 

/ 

IF  ROME  MUST  FALL, 

/ 

THAT  WE 

ARE  IN-NO-CENT.\ 

Some  of  the  faults  of  articulation  which  have  been  already 
mentioned,  should  in  strict  propriety  be  placed  under  this  head. 
They  are  those  in  which  vowels  are  omitted,  and  words  short- 
ened by  dropping  them;  e.g.  hist'ry  for  history,  cons'quence 
for  consequence. 

SUSTAINED     EXPRESSION. 

When   first   beginning  to  practise   speaking,   some  experi- 
ence great  difficulty  in  keeping  the  requisite  expression  uniform 
and  consistent  as  long  as  is  necessary.     The  voice  is  apt  to  flag 
after  the  utterance  of  a  few  sentences,  or  even  after  a  few 
words.     The  speaker  begins  with  natural  animation  and  a  suit- 
able expression,  as  also  with  a  key  and  force  adapted  to  the 
room,  but  soon  loses  this  propriety  of  manner.     When  the 
:  voice  flags,  so  likewise  does  the  gesture,  in  respect  to  earnest- 
!    ness  and  significancy. 


102  GENERAL    HABITS    IN    DELIVERY. 

Hence,  practice  in  speaking  should  be  at  first  on  very 
short  passages. 

It  is  best  indeed  to  begin  with  the  appropriate  utterance  of 
single  words,  and  to  proceed  successively  to  groups,  phrases, 
sentences,  paragraphs,  and  entire  discourses.  It  often  happens, 
that  one  who  has  had  no  practice  whatever,  can  speak  a  single 
word  or  group  with  propriety,  but  cannot  follow  it  with  another, 
without  a  falling  off  in  the  appropriate  tone  with  which  he  began. 

It  should  be  a  rule,  not  to  persevere  in  practising  at 
any  one  time,  longer  than  while  the  mind  continues 
fresh  and  clear,  and  the  perceptions  of  the  ear  remain 
u  neon  fused. 

Longer  continuance  will  be  useful  merely  in  strengthening 
the  voice.  When  this  is  the  principal  object,  two  or  three 
hours  at  a  time  may  be  spent  with  advantage. 

The  first  practice  for  learning  to  sustain  the  voice, 
should  be  with  reference  to  keeping  it  uniformly  adapt- 
ed to  the  size  of  a  large  room,  or  to  the  extent  of  ground 
occupied  by  an  audience  imagined  to  be  present  in  the 
open  air.  This  will  be  judged  of  by  the  ear,  and  will 
fatigue  the  mind  but  little. 

When  after  a  few  trials,  considerable  difficulty  remains 
in  sustaining  the  voice,  the  fault  will  probably  in  every 
case,  be  found  to  result  from  habits  of  not  taking  breath 
with  sufficient  fullness  and  frequency  between  the  groups. 

When  the  voice  is  adequately  sustained  for  a  large  room,  or 
when  in  a  small  one  a  consistent  elevation  of  delivery  is  main- 
tained, the  chest  is  kept  always  full  and  heaved  up.  It  never 
entirely  relaxes,  except  at  long  pauses  which  occur  in  passing 
from  one  sentence  or  paragraph  to  another. 


I 


EMPHATIC    FORCE.  103 


CHAPTER  VI. 

EMPHATIC     FORCE. 

IN  the  preceding  chapters  we  have  designedly  omitted  such 
general  habits  in  delivery,  as  render  reading  or  speaking  pow- 
erful and  intensely  interesting.  The  present  will  be  devoted 
to  those  which  are  necessary  for  force  and  expression.  In  the 
second  part  of  the  work,  we  shall  treat  briefly  of  the  principles 
which  render  particular  words  emphatic ;  while  in  the  third  we 
shall  classify  and  describe  the  general  styles  into  which  all  ex- 
pression may  be  divided. 

We  are  now  to  consider  those  mental  and  physical  efforts 
which  are  common  alike  to  all  the  modes  of  emphasis  and  en- 
forcement, and  to  all  the  varieties  of  expression. 

Before  practising  any  of  the  examples  furnished  in  this  chap- 
ter, it  will  be  well  first  to  read  over  the  remarks  in  its  last  sec- 
tion, on  the  Tone  of  Communicating  Thought. 

EMPHATIC  FORCE  is  given  to  those  parts  of  discourse 
which  excite  the  mind  of  the  speaker  to  peculiar  earnest- 
ness, and  cause  him  to  make  a  special  effort  to  awaken 
the  same  feelings  in  those  whom  he  addresses. 

It  may  be  thought  that  no  one  can  be  liable  to  experience 
difficulty  in  making  the  mental  and  physical  exertion  required 
for  this  purpose.  Yet  such  is  not  the  fact.  In  no  part  of  delivery 
do  unpractised  speakers  so  much  fail,  as  in  this;  and  in  no  part 
do  teachers  of  elocution  find  it  so  difficult  to  develope  the  capa- 
bilities of  those  whom  they  instruct.  Indeed,  it  is  found  on  trial 
that  not  only  are  students  of  elocution  unable  to  give  natural 
and  expressive  emphasis,  so  long  as  they  have  no  command 
over  the  speaking  voice,  but  even  after  this  point  has  been  mas- 
tered, the  delivery  will  still  remain  unnatural  in  regard  to  em- 
phasis, unless  especial  attention  be  directed  to  the  subject. 


104  GENERAL     HABITS     IN     DELIVERY. 

As  continuous  speech  consists  of  a  succession  of  repeated 
efforts  on  groups  of  words,  it  is  at  first  most  natural  and  easy  to 
proceed  with  uniform  regularity,  and  utter  each  group  with  the 
same  force  and  with  no  variation  in  slowness.  The  strength  of 
voice  on  all  the  accents  is  thus  the  same,  while  the  pauses  do  not 
differ  from  one  another  in  length,  or  in  the  modulation  of  the 
voice  which  precedes  them.  The  proclamations  of  criers,  and 
the  enthusiastic  harangues  of  men  entirely  destitute  of  educa- 
tion, afford  examples  of  this  sort  of  delivery.  But  even  in  the 
elocution  of  speakers  of  a  far  higher  order,  we  often  witness 
more  or  less  approximation  to  this  rude  mode,  whenever  their 
energies  are  tasked  to  fill  very  large  rooms.  In  proportion  to 
the  difficulty  of  making  themselves  heard,  their  emphatic  words 
differ  less  from  the  others  in  tone,  and  the  general  sound  of  the 
voice  is  more  monotonous. 

In  reading,  or  in  speaking  written  composition  without  hav- 
ing first  committed  it  to  memory,  the  difficulty  of  giving  a  per- 
petually varying  force,  is  rendered  still  greater  by  the  confine- 
ment of  the  eye  to  the  unbroken  uniformity  of  the  written  or 
printed  lines.  These  tend  to  carry  the  mind  and  voice  me- 
chanically along,  and  to  cause  all  the  words  to  be  uttered  with 
the  same  force.  They  likewise  make  it  more  difficult  for  the 
mind  to  stop  in  its  onward  progress,  and  exhibit  the  pauses  that 
are  so  frequent  and  important  in  a  natural  delivery.  The  new 
mode  adopted  in  this  treatise,  for  exhibiting  the  necessary 
pauses,  will  be  found  of  great  service,  inasmuch  as  it  assists  the 
mind  as  well  as  the  eye. 

It  follows  from  these  facts,  that  in  learning  to  empha- 
size with  natural  force,  attention  must  first  be  given  to 
pausing. 

Before  the  utterance  of  an  emphatic  expression,  the 
mind  must  pause,  in  order  to  collect  and  concentrate  its 
energies,  preparatory  to  the  more  earnest  effort  about  to 
be  made. 


EMPHATIC    FORCE.  105 

Sometimes  the  pause  will  occur  immediately  before  the  precise 
syllable  upon  which  the  emphatic  force  is  to  be  given.  This  will 
happen  when  an  emphatic  single  word  is  the  first  of  a  group, 
and  is  one  which  begins  with  an  accented  syllable.  For  it  must 
be  remembered,  that  when  the  emphasis  is  on  a  single  word,  it 
is  its  accented  syllable  only  that  receives  the  peculiar  tone  and 
force  that  mark  the  emphasis.  But  generally,  the  pause  for 
collecting  the  requisite  mental  energy  is  made  before  some 
group,  in  the  middle  of  which  occurs  the  accented  and  emphatic 
syllable. 

In  the  same  manner  as  a  pause  before  emphasizing  is 
required  for  the  mind,  so  is  it  for  the  breath,  and  for  col- 
lecting vocal  energy  in  the  organs  of  utterance. 

In  the  first  stages  of  learning  to  speak,  it  continually  happens 
that  the  speaker  pauses  and  fully  intends  to  give  a  strong  em- 
phasis, but  finds  to  his  great  surprise,  that  his  efforts  fail.  His 
voice  does  not  in  fact  vary  at  all,  or  instead  of  a  stronger  ex- 
pression, it  even  gives  a  weaker  one.  The  writer  recollects  an 
instance  of  a  man  of  a  thoughtful  and  reflecting  turn  of  mind, 
who  devoted  considerable  time  to  preparing  himself  for  deliver- 
ing a  course  of  written  lectures.  He  evidently  took  pains  in 
regard  to  delivery,  yet  all  his  emphases  were  marked  by  a  hesi- 
tating feebleness  of  utterance.  Such  difficulties  result  from  a 
want  of  the  habit  of  talcing  breath  before  emphasizing. 

The  mental  and  vocal  effort,  then,  by  which  emphasis  is 
effected,  is  the  following. 

Before  attempting  to  utter  the  group  of  words  which 
contains  the  emphatic  word,  a  pause  is  made,  breath  is 
quickly  taken,  the  mind  concentrated,  and  the  vocal  or- 
gans made  ready  for  a  new  effort. 

Emphatic  words  are  generally  accompanied  also  by  some  va- 
riety of  the  stroke  in  gesture.  If  the  arm  has  been  hanging  at 
the  side,  it  is  during  the  pause  that  it  is  raised. 

10 


106  GENERAL    HABTTS     IN    DELIVERY. 

Yet  even  when  the  speaker  fails  in  none  of  the  requisites  just 
described,  it  sometimes  happens  that  he  does  not  succeed  in 
giving  a  natural  and  expressive  tone  of  voice,  and  a  truly  sig- 
nificant gesture.  His  voice  and  gesture  may  be  forcible,  yet 
mechanical  and  unmeaning.  The  remedy  for  this  is  in  the 
management  of  the  mind.  Speakers  are  at  first  liable  to  utter 
words  without  thinking  of  their  meaning.  Or  if  they  fix 
their  attention  on  the  meaning,  they  may  still  forget  that  all 
speaking  supposes  an  audience.  Emphasis  especially,  requires 
to  be  directed  by  its  tone  and  gesture,  towards  the  hearers,  and 
if  none  are  present  to  be  addressed,  they  must  be  imagined. 
To  succeed  perfectly,  then,  in  emphasizing — 

The  effort  of  the  mind  must  be  to  enforce  thoughts 
and  not  mere  words.  The  emphatic  force  must  also  be 
earnestly  directed  towards  an  audience. 

It  will  be  useful  to  mention,  that  this  vigorous  effort  to  set 
forth  and  enforce  ideas  rather  than  words,  is  at  first  inconsist- 
ent with  that  more  leisurely  state  of  mind  required  for  articula- 
tion, pronunciation,  and  in  general,  the  more  mechanical  parts 
of  delivery.  When  first  studying  emphasis  and  expression,  it  is 
best  to  neglect  every  other  quality  of  speaking.  After  a  time, 
skill  and  self-command  will  be  acquired,  by  which  such  qualities 
as  at  first  require  different  and  opposite  states  of  mind,  can  be 
exhibited  in  natural  conjunction. 

Since  emphasis  results  from  earnestness,  it  follows  that 
not  only  are  emphatic  syllables  uttered  with  more  ener- 
gy, but  the  voice  dwells  upon  them  longer  than  on  those 
of  less  importance.  Emphatic  words  take  up  more  time 
in  utterance. 

In  fact,  as  will  be  explained  in  the  section  on  rhythm,  an 
emphatic  word  occupies  just  twice  as  much  time  in  its  delivery, 
(including  the  pauses,)  as  an  unemphatic  one  of  the  same  num- 
ber of  syllables. 


EMPHATIC     FORCE. 


107 


The  pause  which  precedes  an  effort  to  emphasize,  is 
not  the  only  one  which  is  made.  Another  occurs  after 
the  utterance  of  the  group.  Daring  its  continuance,  the 
mind  of  the  speaker  continues  in  the  same  excited  state 
which  produced  the  earnest  and  significant  tone.  The 
countenance  keeps  the  same  expression.  The  eye  and 
the  hand  continue  their  appeal  to  the  audience.  Thus 
the  hearers  also,  are  made  to  feel  and  reflect  upon  the 
full  importance  of  what  has  just  been  urged. 

This  subsequent  pause  is  necessary  likewise  for  the  breath 
and  voice.  As  the  mind  remains  stationary  for  a  moment,  and 
then  prepares  for  the  next  passage,  so  the  vocal  organs  remain 
in  statu  quo.  The  attitude  and  gesture  remaining  fixed,  the 
breath  likewise  is  not  suffered  wholly  to  escape.  Additional 
breath  is  then  taken,  and  the  vocal  organs  prepare  themselves 
for  the  effort  required  by  the  next  group. 

It  should  be  carefully  noticed,  that  during  the  pause  that  fol- 
lows an  emphasis,  the  mind  does  not  really  relax  or  rest,  but 
continues  excited  and  vivid.  So  likewise  the  body  continues  in 
a  state  of  tension  and  energy.  The  chest  is  not  suffered  to 
flatten,  and  no  time  is  allowed  for  a  slow  and  calm  mode  of 
breathing.  The  very  act  of  breathing  is  indeed  suspended  for 
a  time.  In  this  way  no  flagging  of  the  voice,  or  relaxation  of  the 
exciting  interest  of  the  delivery  takes  place,  even  in  rhetorical 
pauses  of  extreme  length.  Though  forcible  delivery  ought  to 
be  easy,  yet  it  admits  of  no  actual  rest,  either  of  mind  or  body, 
except  at  the  end  of  a  paragraph. 


CONTINUED    EMPHASIS. 


Emphatic  force  is  still  to  be  considered  in  reference  to  the 
number  of  words  which  receive  it  during  a  single  impulse  of  the 
voice. 


108  GENERAL     HABITS     IN     DELIVERY. 

In  regard  to  this  point,  writers  distinguish  emphasis  into  two 
kinds,  according  as  it  is  given  on  a  single  word,  or  is  equally 
distributed  over  several.  The  latter  they  call  continued  empha- 
sis, or  an  emphatic  phrase.  This  we  shall  first  consider,  as  it  is 
of  more  common  occurrence  than  the  other,  and  produces  more 
important  effects.  It  has  also  been  too  much  neglected  by 
most  writers. 

The  mental  and  physical  efforts  by  which  this  is  executed, 
are  the  same  as  have  just  been  described  in  reference  to  em- 
phasis in  general.  It  was  stated  above,  that  emphatic  earnest- 
ness renders  the  utterance  of  a  word  slow. 

Hence  when  this  earnestness  is  continued  on  several 
words  in  succession,  the  entire  emphatic  passage  is  given 
with  strikingly  prolonged  as  well  as  forcible  tones. 

The  continuity  of  the  forcible  tone  must  be  kept  uniform,  and 
if  more  words  are  to  receive  it  than  can  be  uttered  at  a  single 
breath,  the  lungs  must  be  filled  quickly,  as  is  done  by  a  flute 
player,  so  that  the  connexion  of  the  words  shall  not  be  inter- 
rupted. 

Although  the  consideration  of  the  theory  of  emphasis  is  re- 
served for  the  second  part  of  this  treatise,  yet  it  will  be  well  to 
mention  under  the  present  head,  the  following  general  facts. 

Most  of  the  sentences  in  a  discourse  are  introduced  on 
account  of  the  importance  of  one  of  its  sections  only. 

The  remaining  sections  serve  principally  the  purpose,  of  con- 
necting the  important  one  with  the  other  sections  of  the  dis- 
course. 

This  most  important  section  must  always  receive,  in 
some  degree  at  least,  that  slower  and  more  earnest  effort 
of  the  voice,  which  is  called  continued  emphasis. 

It  is  upon  this  part  of  the  sentence,  that  the  countenance  and 
attitude  are  most  earnest.  So  likewise,  if  gestures  are  made  at 


EMPHATIC    FORCE.  109 

all,  they  will  be  made  as  accompaniments  to  the  continued  em- 
phasis of  the  voice. 

When  the  style  of  a  passage  is  in  sentences  of  the 
very  simplest  construction,  the  emphatic  portions  will 
generally  be  the  whole  or  a  part  of  each  predicate. 

EXAMPLES    FOR   PRACTICE. 

(Subj.')   A  great  part      of  the  mission      of  every  man      on  earth, 
(Pred.)    is  to  contend      with  EVIL       in  some  of  its  FORMS. 

(Subj.)    The  great  end       of  society 

(Pred.)  is  to  givefree  scope      to  the  exertions  of  ALL,. 

(Subj.)    Persecution       for  opinion 

(Pred.)  is  the  BASEST  instrument       of  DESPOTISM. 

(Subj.)    The  capacity       for  acquiring  truth 

(Pred.)  is  one  of  the  NOBLEST  attributes       of  our  NATURE. 

(Subj.)    The  eulogium       pronounced  on  the  character 
of  the  state  of  South  Carolina, 
for  her  revolutionary       and  other  merits, 

(Pred.)  meets  my  hearty  CONCURRENCE. 

(Subj.)    The  citizens       of  America  [ERTIES. 

(Pred.)   celebrate  THAT  DAY       which  gave  birth       to  their  LIB- 
(Subj.)    The  recollection       of  this  event 

replete  with  consequences       so  beneficial  to  mankind, 
(Pred.)    swells  every  HEART       with  joy 

and  Jills  every  tongue       with  praise. 

(Subj.)    When  public  bodies 

(Pred.)   are  to  be  addressed      on  momentous  occasions, — 

Yet  in  a  well  constructed  style,  it  perhaps  happens 
quite  as  often  that  the  subject  is  the  emphatic  portion  of 
the  sentence.  E.  g. 

10* 


110  GENERAL    HABITS    IN    DELIVERY. 


When  public  bodies 
(Fred.)   are  to  be  addressed      on  momentous  occasions, 
(Subj.)    when  great  interests 
(Fred.)   are  at  stake, 
(Subj.)    and  strong  passions 

(Fred.)    excited,  &C.  &C. 

It  often  happens  also,  that  the  subject  and  predicate 
ar^both  emphatic.  This  will  be  seen  in  continuing  the 
last  example  still  farther. 

(Subj.)  nothing      (Fred.)    is  valuable  in  speech, 

(Contin.  Fred.}   farther 

(Sub-jpr™At)  *"  than  it  is  connected 

(Remain.  Fred.)  with  high    intellectual    and  moral    endowments. 

In  most  of  the  following  example  the  emphasis  falls 

on  the  subjects. 

\ 
(Subj.)  Clearness  ,      force,       and  earnestness, 

(Fred.)  are  the  qualities     that  produce  conviction. 

(Subj.)  Labor       and  learning 

(Fred.)  may  toil  for  it, 

(Pred.—subj.  ispron.  they)  but  they  will  toil  in  vain. 

(Subj.)  Words  and  phrases 

(Fred.)  may  be  marshalled       in  every  way, 

(Subj.  ispron.  they)  but  they  cannot      compass  it. 

(Subj.)  Affected  passion, 

(Subj.)  intense  expression, 

(Subj.)  the  pomp  of  declamation, 

(Subj.  and  Fred.)  all      may  aspire  after  it  — 

(Subj.  they)  they  cannot  reach  it. 

(Subj.)  Then       patriotism 

(Fred.)  is  eloquent; 


EMPHATIC     FORCE.  Ill 

(Subj.)  then       self-devotion 

(Pred.)  is  eloquent. 

\ 
(Subj.)  The  dear  conception, 

outrunning  the  deductions  of  logic, 

\ 
(Subj.)  the  high  purpose, 

\  > 

(Subj.)  thejirm  resolve, 

\ 
(Subj.)  the  dauntless  spirit, 

\ 
speaking      on  the  tongue, 

\ 
beaming      from  the  eye, 

\ 
informing  every  feature, 

\ 
and  urging  the  whole  man       onward, 

\t 

right  onward      to  his  object  — 

(Subj.)  this,         THIS 

(Pred.)  is  eloquence. 

Further  examples  of  emphatic  subject. 

(Subj.)  Has  the  stability       of  the  government, 

or  that  of  the  country, 

(Pred.)  been  weakened  ? 

\ 
(Subj.)  The  ve  ry  existence      of  the  noftofi  i 

(Pred.)  is  endangered. 

\ 
(Subj.)  A  great       and  solemn       crisis 

(Pred.)  is  evidently  approaching. 


In  the  mean  time       these  paroxysms      of  his 
(Pred.)  decline  ;\  [moral  nature, 


112  GENERAL    HABITS     IN    DELIVERY. 

\ 

(Subj.)  and  a.  fearful  apathy, 

the  harbinger      of  spiritual  death, 

(Pred.)  comes  on. 

\ 
(Subj.  and  Pred.)    His  resolution      fails ; 

and  his  mental  energy,       and  his  vigorous  en- 

\        [terprise  ; 
and  nervous  irritation     and  depression 

(Pred.)  ensue. 

(Subj.)  All  that  was  once  lovely      and  of  good  report 

(Pred.)  retires. 

Sometimes  both  subject  and  predicate  are  equally  em- 
phatic, and  the  whole  sentence  is  spoken  with  continued 
emphasis.     A  long  pause  however,  must  generally  inter- 
vene between  the  two  members. 
(Subj.)  Our  chains       (Pred.)    are  forged. 

(Subj.)  Their  clanking       (Pred.)    may  be  heard  on  the 

[plains  of  Boston. 
(Subj.)  The  war       (Pred.)   is  inevitable ; 

(Subj.  and  Pred.)     and  LET  IT  COME  !  / 

[matter. 

(Pred.)  It  is  in  vain      Sir,       (Subj.)    to  extenuate  the 

(Subj.)  The  war       (Pred.)    is  actually  begun ! 

(Subj.)  The  next  gale       that  sweeps  from  the  north 

(Pred.)  may  bring  to  our  ears 

the  clash  of  resounding  arms. 

Let  not  the  student  suppose  that  he  is  expected  to  carry  along 
in  his  mind,  a  grammatical  analysis  of  sentences  during  the 
glowing  excitement  of  eloquent  reading  or  speaking.  Far  from 
it.  He  is  scarcely  to  think  of  words,  much  less  of  grammar. 
For  it  is  with  ideas,  images  and  feelings,  that  he  is  to  be  in- 


EMPHATIC     FORCE.  113 

tensely  occupied.  Still  a  few  such  analyses  as  the  above  will 
be  found  of  great  advantage.  They  divest  the  subject  of  much 
of  the  strangeness  which  it  presents  in  many  books  of  elocution, 
and  form  those  appropriate  habits  by  which  a  reader  emphasizes 
with  instantaneous  correctness,  the  moment  his  eye  glances  on 
a  passage.  Unless  a  person  can  emphasize  at  sight,  and  with- 
out the  necessity  of  previously  studying  a  passage,  he  has  little 
practical  or  even  useful  knowledge  either  of  reading  or  speaking. 
Indeed,  emphasis  that  is  the  result  of  ingenious  study,  is  gen- 
erally wrong.  It  corresponds  neither  with  the  grammar,  the 
logic,  nor  the  general  scope  of  the  composition.  The  "  new 
readings"  by  which  actors  so  often  aim  at  notoriety,  are  apt  to 
be  as  incorrect  as  they  are  far-fetched. 

Every  reader  however,  instinctively  makes  some  sort  of  analy- 
sis of  passages,  as  he  proceeds,  and  in  the  following  examples 
we  shall  present  one  of  that  extremely  simple  kind,  which  cor- 
responds with  the  most  common  action  of  a  reader's  mind.  In 
the  second  part  of  the  work,  the  subject  will  be  resumed. 

Without  then  going  into  a  grammatical,  or  a  logical 
analysis,  the  mind  of  a  reader  generally  notices  that  the 
most  important,  and  consequently  the  emphatic  portion 
of  a  sentence,  is  either  at  the  beginning,  in  the  middle, 
or  at  the  end.  The  same  habit  is  followed  likewise,  in 
regard  to  sections  or  phrases  of  a  sentence. 

We  should  have  preferred  to  present  the  following  example 
in  the  ordinary  form  of  continuous  discourse,  but  the  page 
would  have  become  confused.  As  we  give  it,  each  line  is  not 
always  a  strict  rhetorical  phrase. 

EXAMPLE    FOR   PRACTICE. 

Emphasis  at  be-  ( Gentlemen,  we  are  at  the  point  of  a  century 
ginning.  j  from  the  birth  Of  Washington ; 

Emphasis  at  bo-  (  and  what  a  century 
ginning.  H  has  been  , 


114 


GENERAL     HABITS     IN     DELIVERY. 


CDuring  its  course, 

Emphasis  at  end.<|  the  human  mind       has  seemed  to  proceed 
[with  a  sort  of  geometric  velocity, 
f  accomplishing  more 

I  for  human  intelligence       and  human  freedom, 
Emphasis  at  end  J 

I  than  had  been  done 

Ltn  Jives       or  tens  of  centuries      preceding. 

fWashington 
Emphasis  at  endJ  stands  at  the  commencement 

[of  a  new  era, 
Unemphatic.        $  as  well  as  at  the  head       of  a  new  world. 

It  is  the  spirit 


Emphasis  at   be- 
ginning. 


\ 


of  human  freedom, 
\ 

the  new  elevation      of  individual  man 
in  his  moral,      social     and  political  character, 
leading  the  whole  long  train 
of  other  improvements, 
which  has  most  remarkably  distinguished 
the  era  of  Washington. 

!Our  existing  institutions, 
raised  on  these  foundations, 
have  conferred  on  us 
almost  unmixed  happiness. 
There  are  two  principles,  gentlemen, 
\ 


Emphatic  clause 
in  the  middle. 


Emphatic    clause ^ 
in  the  middle. 


strictly  and  purely  American, 
which  are  now 

likely  to  overrun  the  civilized  world. 
r Indeed,  they  seem 
\ 
the  necessary  result 

of  the  progress  of  civilization  and  knowledge. 


We  wish  to  direct  the  attention  of  the  student  to  the  fact, 
that  in  the  latter  part  of  the  last  example,  some  of  the  emphatic 


EMPHATIC     FORCE.  115 

clauses  occurring  in  the  middle  of  a  sentence  are  somewhat 
parenthetical  in  their  structure.  It  is  singular  that  for  upwards 
of  a  hundred  years  it  should  have  been  the  standing  rule  in 
books,  that  parentheses  or  parenthetical  clauses  universally  re- 
quire to  be  read  in  "a  quicker  and  weaker  tone  of  voice," 
while  it  is  commonly  directed  likewise  to  read  them  on  a  lower 
pitch.  So  far  are  these  rules  from  being  true  universally,  that 
such  clauses  are  as  often  emphatic  as  any  others,  and  as  often 
require  to  be  read  on  a  higher  as  on  a  lower  key.  Extempora- 
neous style  and  that  of  conversation,  frequently  abound  in  pa- 
rentheses, which  are  delivered  with  more  instead  of  less  ear- 
nestness, from  the  fact  that  the  speaker  is  afraid  of  forgetting 
the  ideas  that  they  present,  or  puts  them  in  by  way  of  caution 
to  prevent  misapprehension.  In  written  styles  likewise,  parti- 
cipial clauses,  coming  in  parenthetically,  contribute  to  conden- 
sation, and  are  often  strongly  emphatic. 

At  the  end  of  the  section  on  Grouping  or  the  Accent 
of  Construction,  we  cautioned  against  injuring  the  tone 
of  continuity  which  is  required  in  a  discourse.  The 
same  caution  is  needed  in  reference  to  the  above  exam- 
ples. If  it  be  asked,  upon  what  does  the  tone  of  con- 
tinuity depend  ? — we  answer,  upon  that  sustained  ear- 
nestness of  tone,  at  the  end  of  groups,  which  proceeds 
from  the  suspension  of  the  respiration,  and  the  fixed  at- 
titude, look,  and  appeal  of  the  hand,  which  we  have  de- 
scribed above  as  accompanying  rhetorical  pauses. 

EMPHATIC    FORCE    ON    SINGLE    WORDS. 

A  strong  and  exclusive  emphasis  on  a  single  word,  is  found 
quite  difficult  in  early  practice. 

The  faults  which  result  from  not  being  accustomed  to  the 
strong  mental  and  physical  effort  required  for  such  emphasis, 


116  GENERAL    HABITS     IN    DELIVERY. 

are,  first,  want  of  force;  and  secondly,  want  of  complete  and 
unreserved  earnestness  of  expression. 

1.  In  order  to  ensure  sufficient  force,  breath  must  be 
taken — the  mind  must  be  made  ready — and  then  the 
emphatic  word  must  be  sent  forth,  with  a  more  fearless 
energy  than  is  natural  to  timid  and  unpractised  speakers. 

The  force  and  energy  of  the  voice  on  an  emphatic  word, 
must  be  sufficient  to  produce  a  strong  and  frequently  a  striking 
and  even  startling  effect  on  the  auditors. 

2.  Unpractised  speakers  often  emphasize  with  suffi- 
cient loudness  and  force,  and  yet  do  not  seem  to  be  re- 
ally in  earnest. 

To  use  a  familiar  expression,  they  do  not  appear  to  be  whole- 
souled  in  their  earnestness.  This  fault  proceeds  from  three 
causes. 

First,  the  mind,  as  it  were,  partly  holds  back,  and 
does  not  completely  surrender  itself  up  to  the  required, 
expression. 

There  should  be  for  the  time  a  total  abandonment,  and  espe- 
cially a  fearless  indifference  as  to  personal  peculiarities  of  man- 
ner. These  are  seldom  of  serious  importance,  so  long  as  they 
do  not  hinder  the  expression  of  earnestness.  Apprehensiveness 
and  self-criticism  will  surely  prevent  perfect  heartiness  and  sin- 
cerity of  emphatic  expression. 

Secondly,  the  more  earnest  the  emphasis,  the  more 
heartily  must  the  breath  be  sent  out. 

In  the  most  powerfully  emphatic  utterance,  this  is  done  so 
heartily,  that  the  lungs  seem  at  first  to  be  completely  emptied. 
Such  is  not  however  the  fact,  although  the  breath  does  indeed 
issue  violently  during  the  utterance  of  the  accented  syllable  of 
the  emphatic  word. 


EMPHATIC    FORCE.  117 

Thirdly,  when  the  emphasis  fails  of  sufficient  earnest- 
ness, the  accompanying  stroke  of  gesture  is  not  general- 
ly made  with  a  sufficient  degree  of  muscular  energy. 

The  energy  of  the  arm  must  be,  as  it  were,  spasmodic;  while 
immediately  after  the  stroke,  the  muscles  of  the  arm  must  be 
kept  tense,  and  not  suffered  to  relax. 

We  have  dwelt  at  some  length  on  the  general  effort  required 
for  emphasis,  on  account  of  the  importance  of  the  subject.  In 
nothing  are  orators  of  great  power  distinguished  from  inferior 
and  yet  equally  natural  speakers,  more  than  in  the  boldness, 
energy  and  heartiness  of  their  emphasis.  Indeed  it  is  solely 
by  means  of  emphasis,  that  the  very  highest  effects  of  oratory 
are  produced. 

EXAMPLE    FOR   PRACTICE. 

Extract  from  the  supposed  speech  of  John  Adams,  on  the 
vote  for  independence. 

/ 

SINK 

\ 
or  SWIM, 

/ 

LIVE 
\ 

or  DIE, 

/ 

SURVIVE 
\/ 

or  PERISH, 

I 

\ 

give  my  hand      and  my  HEART 

to  this  vote. 

\ 
If  we  FAIL, 

11 


118  GENERAL     HABITS     IN     DELIVERY. 


it  can  be  no  WORSE  for  us. 

But  we  shall  NOT  fail. 

\ 
The  CAUSE 

/ 
will  raise  up  ARMIES  ; 

the  cause      will  create  NAVIES. 

\ 
The  people, 

\ 
the  PEOPLE, 

/ 
if  we  are  true  to  them, 

/ 
will  carry  us, 

\ 
and  will  carry  THEMSELVES, 

\ 
GLORIOUSLY      through  this  struggle.  \ 

\ 
Send  this  declaration      to  the  public  HALLS  ; 

\ 
proclaim  it  THERE  ; 

/ 
let  THEM  hear  it, 

\ 
who  heard  the  first  roar      of  the  enemy's  CANNON  ; 

/ 
let  THEM  see  it, 

/  / 

who  saw  their  brothers      and  their  sons 

fall  on  the  Jield       of  BUNKER  HILL, 

/  \ 

and  in  the  streets  of  LEXINGTON       and  CONCORD, 

\ 
and  the  very  WALLS 

will  cry  out       in  its  support. 


CONTRASTS    OP    FORCE.  119 

CONTRASTS    OF    FORCE. 

In  nothing  is  the  progress  of  those  who  are  learning  to  speak 
more  slow,  than  in  acquiring  the  power  of  perpetually  varying 
the  force  of  their  delivery.  The  difficulty  is  increased  by  the 
unavoidable  necessity  of  confining  their  practice  principally  to 
extracts,  instead  of  being  accustomed  to  speak  discourses  which 
occupy  towards  half  an  hour,  at  least,  in  their  delivery. 

The  necessary  amount  of  force  and  slowness  required  for 
large  audiences,  is  another  serious  obstacle  to  giving  varied  de- 
grees of  force  on  different  passages.  There  is  no  need,  how- 
ever, of  discouragement  in  reference  to  this  difficulty.  Those 
who  have  been  thoroughly  practised  in  giving  an  unreserved 
and  yet  natural  and  agreeable  energy  on  the  most  exciting  pas- 
sages of  a  long  discourse,  will  in  the  end  find  no  difficulty  in 
speaking,  when  necessary,  with  moderation  and  calmness. 

The  chief  reason  why  unpractised  speakers  are  apt  to  fail  of 
occasionally  moderating  their  energy,  is  that  of  not  having  at- 
tained complete  self-possession.  Yet  the  only  effectual  mode 
of  acquiring  this  indispensable  habit  of  mind,  is  by  being  ac- 
customed to  speak  with  that  force  and  power  which  results 
from  an  intentional  effort  to  control  an  audience.  It  must  be 
remembered  that  although  there  can  be  no  eloquence  without 
intense  excitement,  yet  that  mere  excitement  is  not  of  itself 
sufficient  to  produce  a  good  delivery.  Excitement  without  self- 
control,  is  indeed  little  different  from  insanity.  If  the  hearers 
perceive  that  a  speaker  is  borne  on  by  the  ardor  of  his  feelings 
to  such  an  extent  that  he  has  no  power  of  checking  himself, 
they  simply  commiserate  him.  Nothing  is  easier  than  to  be- 
come excited  in  speaking ;  but  to  encourage  our  own  strong 
impulses,  and  then  intentionally  and  with  judgment  make  use 
of  them  for  the  sake  of  accomplishing  a  useful  end — this  is  the 
very  definition  of  oratory. 

For  such  reasons,  a  practical  delivery  can  never  be  learned  by 
the  process  of  speaking  in  those  circumstances  only  which  are  ab- 


120 


GENERAL     HABITS     IN     DELIVERY. 


solutely  favorable  to  the  speaker — such  as  when  he  speaks  what 
is  in  the  highest  degree  interesting  to  himself,  and  has  every 
assistance  that  can  be  afforded  by  the  audience,  the  time,  the 
place  and  the  occasion.  Practical  speaking  consequently,  as 
was  stated  in  the  introduction,  can  only  be  learned  by  means 
of  such  task-work  as  compels  the  speaker  to  rely  mainly  on  his 
own  energies. 

It  is  obvious  that  no  rules  can  be  given  as  to  when 
we  must  moderate  our  delivery,  and  likewise  that  none 
are  needed. 

It  will  however  be  useful  to  furnish  a  single  extract  for  prac- 
tice. 

EXAMPLE    FOR   PRACTICE. 


fBut  youth 


Earnest. 


\ 


Significant 
yet  moder- 
ate. 


Tone    of  in- 
difference. 


Moderation, 
approach- 
ing to  care- 
lessness. 


\ 

I  is  not  my  only  crime. 

I 1  have  been  accused      of  acting  a  theatrical  part ! 

A  theatrical  part 

may  either  imply       some  peculiarities  of  gesture, 

\ 
or        a  dissimulation       of  my  real  sentiments, 

and  the  adoption       of  the  opinions  and  language 

\ 
of  another  man. 

In  the  Jirst  sense, 

the  charge  is  too  trifling      to  be  confuted; 

and  deserves  only  to  be  mentioned 

\ 
that  it  may  be  despised. 

I  am  at  liberty —      like  every  other  man — 

\ 
.to  use  my  own  language: 


CONTRASTS    OF    FORCE. 


121 


Sarcasm. 


Concession.    £  an(j  tnougn  i  may,  perhaps,       have  some  ambition, 

yet  to  please  THIS  gentleman, 

I  shall  not  lay  myself      under  any  restraint, 

or  very  solicitously 

/  \ 

copy  his  diction      or  his  mien ; 

however      matured  by  age 

\ 
or  modelled      by  experience. 

If  any  man 

shall,  by  charging  me       with  theatrical  behavior, 

imply 

\/ 
that  I  utter  any  sentiments       but  my  own, 


Bold. 


Threatening.  • 


I  shall  treat  him 

\ 
and  a  villain : 


\ 
as  a  calumniator 


\ 


nor  shall  any  protection 

shelter  him  from  the  treatment 

\ 
which  he  deserves. 

/ 
I  shall,  on  such  an  occasion, 

\ 
without  scruple, 

\/ 

trample      upon  all  those  forms  / 

[selves, 
with  which  wealth  and  dignity       intrench  them- 

\y 

nor  shall  any  thing      but  age 

\ 

{.restrain  my  resentment : 
11* 


Lower  key  & 
less    loud, 
but  sarcas-  * 
tic. 


122  GENERAL    HABITS    IN    DELIVERY. 

r\/ 

age, 

which  always  brings  with  it 

\ 
one  privilege — 

\/  \/ 

t hat  of  being  insolent       and  supercilious 

\ 
without  punishment. 


DEEP    EARNESTNESS    OF    TONE. 

Familiar  earnestness,  such  as  we  hear  in  conversation,  tends 
to  make  the  voice  run  on  a  high  key,  and  with  more  or  less  of 
loudness  or  of  shrillness.  Coarse  earnestness  causes  it  to  be 
noisy,  and  deficient  in  suavity  of  tone. 

On  the  other  hand,  the  earnestness  of  intense  thought  and 
deep  emotion,  excites  a  peculiar  effort  of  the  breast,  which 
causes  such  emphatic  words  as  are  naturally  uttered  in  lower 
notes,  to  be  strengthened  in  their  enunciation.  It  may  be  given 
as  a  general  rule,  that  deep  emotion  sinks  the  key  of  emphatic 
words,  while  familiar  excitement  raises  it.  But  when  earnest- 
ness is  expressed  on  a  relatively  lower  pitch,  a  vigorous  effort  must 
be  made  to  strengthen  the  utterance,  or  it  will  sound  either  faint 
or  dull.  There  is  no  danger  of  undignified  loudness  when  we 
exert  the  utmost  energies  of  the  voice  on  low  notes.  It  is  only 
by  strength  on  high  notes  that  a  noisy  loudness  is  ever  produced. 

This  style  of  earnestness  causes  the  voice  to  become 
deep,  grave,  and  broad.  The  expression  which  it  con- 
veys is  hearty,  and  seems  (as  persons  say)  whole-souled. 

Although  this  tone  is  most  strikingly  exhibited  on  the 
lower  notes,  it  will  yet  be  manifest  throughout  the  entire 
range  of  the  voice.  The  higher  notes  will  be  less  shrill 
and  familiar. 


DEEP    EARNESTNESS.  123 

Those  who  are  not  accustomed  to  making  accurate  distinc- 
tions in  reference  to  such  points,  are  apt  to  think  the  voice 
considerably  lowered  in  pitch.  Though  it  does  indeed,  often 
range  somewhat  lower,  yet  it  appears  to  many  to  be  more  so 
than  it  really  is. 

It  is  of  great  importance  to  cultivate  this  quality  of  delivery, 
and  the  tone  may  readily  be  acquired  by  attending  to  the  phys- 
ical effort  by  which  it  is  produced. 

To  gain  it,  we  must  practice  expelling  the  breath  with 
the  most  exhausting  heartiness,  while  we  make  at  the 
same  time  a  strong  and  even  convulsive  effort  at  the 
very  bottom  of  the  breast,  and  indeed,  apparently  at  the 
pit  of  the  stomach. 

It  is  this  natural  effort  which  gives  rise  to  various  forms  of 
language,  which  are  used  to  express  earnestness,  such  as  that 
of  Burke,  in  a  previous  extract,  "  from  the  bottom  of  my  heart, 
I  thank  you."  The  very  expression  "  deep  emotion,"  has  the 
same  origin,  and  we  might  mention  numerous  others. 

Those  who  endeavor  to  become  eloquent  by  mere  imitation  of 
some  celebrated  model — an  actor  for  instance — often  attempt 
to  gain  this  quality  by  altering  their  voice  in  an  unnatural  man- 
ner. Such  a  process  never  produces  any  thing  but  mouthing. 
To  succeed  in  imitating  another  in  this  excellence,  it  is  neces- 
sary to  watch  the  sort  of  effort  that  he  makes.  Let  the  same 
effort  of  mind  and  body  be  exerted  with  an  extreme  degree  of 
energy,  and  the  voice  will  be  changed  from  the  familiar  tone  of 
conversation  to  the  one  under  consideration.  To  avoid  mouth- 
ing, we  must  be  sure  to  exert  sufficient  energy.  All  mouthing 
and  affectation  imply  weakness  of  feeling  and  effort. 

The  term  orotund,  invented  by  Dr.  Rush,  seems  to  refer  to 
this  quality,  when  used  in  connexion  with  the  pure  tone. 

Though  every  cultivated  voice  will  exhibit  this  depth  and  full- 
ness of  tone  in  a  considerable  degree,  and  that  too,  indepen- 


124  GENERAL    HABITS     IN    DELIVERY. 

dently  of  the  character  of  the  composition  delivered,  yet  it  will  be 
well  to  furnish  a  single  extract  for  practising  it,  in  this  part  of 
the  course.  No  better  example  indeed,  is  needed,  than  the  ex- 
tract furnished  in  the  second  chapter,  on  p.  53 ;  and  the  earnest 
delivery  of  that  passage  will  have  already  cultivated  the  present 
quality  of  voice.  The  passage  which  we  now  furnish  is  from 
the  same  speech,  and  is  selected  with  especial  reference  to  the 
fact,  that  its  appropriate  delivery  requires  the  voice  sometimes 
to  rise  very  high,  as  well  as  to  descend  very  low. 

EXAMPLE    FOR   PRACTICE. 

(Middle  key)         But       whatever       may  be  our  fate, 
be  assured, 

(Higher)  be  assured, 

\ 
(Lower)  that  this  declaration       will  stand. 

(Low  and  rising)  It  may  cost  treasure, 

\ 
and  it  may  cost  blood; 

\ 
but  it  will  stand, 

/  \ 

(Descending)        and  will  richly  compensate      for  both. 

(Middle  key)          Through  the  thick  gloom      of  the  present 

\ 
I  see  the  brightness       of  the  future, 

(Rising)  as  the  sun      in  heaven.  \ 

\ 
(High  and  full)     We  shall  make  this      a  glorious, 

\ 
an  immortal      day.\ 

(Middle  key)        When  we,      are  in  our  graves, 


DEEP     EARNESTNESS. 


125 


our  children 


\ 
will  honor  it. 


\ 


They  will  celebrate  it       with  thanksgiving, 


(Rising) 


(MiddkJcey) 


(Rising) 


(High  and  full) 


\ 


with  festivity, 


\ 


with  bonfires,       and  illuminations. 

/ 
On  its  annual  return, 

\ 
they  will  shed  tears, 

\ 

copious, 

\ 

gushing  tears, 

not      of  subjection      and  slavery, 

/ 
not  of  agony      and  distress, 

\ 
but  of  exultation, 

\ 

of  gratitude, 

\ 
and  of  joy. 


(Low  and  strong)   Sir,        before  God, 
I  believe  the  hour 


\ 
is  come. 


(Rising) 


(Rising) 


(Descending} 


My  judgment      approves  this  measure, 

\ 
and  my  whole  heart       is  in  it. 

\ 
All      that  I  have, 

\ 
and  all  that  lam, 

\  / 

and  all  that  /HOPE       in  this  life, 

I  am  now  ready       here  to  stake  upon  it  ; 


126  GENERAL    HABITS     IN     DELIVERY. 

/  \ 

(Lowandfutt)      and  I  leave  off      as  I  begun, 

/  \ 

that,       live       or  die, 

/  / 

(Rising)  survive       or  perish, 

/ 
(Middle  and  loud)  I      am      for  the  declaration.  \ 

/ 
(High)  It  is  my  living      sentiment      \ 

[dying  sentiment  ; 

(Descending}        and,       by  the  blessing  of  God,       it  shall  be  my 


(Middle)  independence      NOW  ; 

(Low  and  strong)   and  independence      FOREVER.\ 


WEBSTER. 


CONSCIOUSNESS    OF   BEING   EARNEST    AND    INTERESTING. 

This  seems  the  most  suitable  place  for  considering  the  ques- 
tion, how  a  speaker  can  judge  for  himself,  whether  he  is  suffi- 
ciently earnest  and  expressive. 

No  one  is  willing  to  yield  himself  to  such  excitement  as  will 
appear  extravagant,  and  the  want  of  any  guide  for  determining 
the  degree  of  danger  of  being  so,  is  perhaps  the  most  common 
cause  of  dull  delivery  among  those  who  really  wish  to  speak  well. 
Men  of  mature  age  and  talents,  and  of  sufficient  experience, 
need  no  information  on  this  point,  as  they  have  already  learned 
to  be  guided  by  the  manifestations  of  interest  exhibited  by  an 
audience.  Students  of  delivery  however,  often  feel  entirely  at 
a  loss  to  determine  how  much  exertion  to  make,  and  how  much 
excitement  to  indulge.  Such  have  always  appeared  to  be  grati- 
fied with  information  like  the  following. 

First,  always  make  a  distinction  between  practice  for 
disciplining  the  voice  and  gesture,  and  that  for  cultiva- 
ting propriety  of  manner. 


CONSCIOUSNESS     OF    EARNESTNESS.  127 

The  former  should  be  managed  exactly  like  any  other 
athletic  exercise  ;  its  real  object  being  to  strengthen  the 
muscles  of  voice,  respiration  and  gesture ;  and  (as  a 
general  rule,)  the  more  heartily  and  even  violently  these 
are  exercised,  the  greater  will  be  the  benefit. 

It  is  important  to  enter  upon  such  exercises  with  a  willing, 
hearty,  and  cheerful  spirit,  just  as  in  practising  some  active 
sport.  They  constitute  some  of  the  most  useful  forms  of  exer- 
cise in  reference  to  health,  and  there  is  good  reason  for  thinking 
them  more  directly  preventive  of  the  torturing  malady,  dyspep- 
sia, than  any  other  gymnastic  resource.  A  resort  to  the  cele- 
brated vocal  gymnasium  in  Philadelphia,  conducted  by  Dr. 
Comstock,  has  been  found  by  comparative  trial,  much  more 
beneficial  to  health,  than  following  the  modes  of  exercise  in  one 
of  the  common  gymnasia  in  the  same  city.  No  modes  of  exer- 
cise quicken  the  circulation  of  the  blood,  and  promote  a  health- 
ful flow  of  spirits,  more  than  vocal  gymnastics. 

Secondly,  when  learning  to  judge  of  his  own  expres- 
siveness, let  the  student  keep  in  mind,  that  his  voice 
will  generally  sound  more  earnest  and  interesting  to  him- 
self than  to  his  auditors. 

This  is  a  demonstrable  fact.  Upon  private  enquiry  it  will  be 
ascertained,  that  in  most  cases,  when  men  of  considerable  force 
of  character  fail  in  animation  as  speakers,  they  themselves  are 
afraid  of  being  too  much  excited,  and  have  hardly  a  suspicion 
that  they  are  not  animated  enough.  Even  when  candidly  in- 
formed to  the  contrary,  they  find  it  difficult  to  believe  the  fact, 
and  incline  to  think  that  the  fault  is  in  the  hearers.  It  is  not 
often  from  conceit  or  vanity  that  they  make  this  mistake. 
They  are  conscious,  and  indeed  know  with  certainty,  that  their 
internal  feelings  have  been  glowing,  and  that  they  have  intended 
to  express  them.  The  error  results  from  the  habit  of  subjec- 


128  GENERAL    HABITS    IN    DELIVERY. 

tively  watching  their  own  feelings,  instead  of  objectively  notic- 
ing what  is  the  actual  sound  of  their  voices  in  the  room.  We 
first  became  acquainted  with  this  fact,  in  the  case  of  men  of 
mature  age,  and  not  in  that  of  the  young  and  inexperienced. 

But  when  the  ear  has  been  well  cultivated,  and  the  speaker 
can  accurately  judge  of  the  degree  of  loudness  and  distinctness 
required  in  a  given  situation,  many  who  have  a  delicate  sensi- 
bility, still  fail  of  being  eloquent  from  fear  of  indulging  in  too 
much  excitement.  This  is  particularly  the  case  with  college 
students,  inasmuch  as  severe  study  is  more  powerful  than  all 
other  influences  in  superinducing  delicacy  and  modesty  of 
character.  The  Scotch  call  a  professor  of  Latin,  a  professor  of 
humanity — using  this  word  in  its  Latin  sense  as  equivalent  to 
refinement.  Bulwer,  the  novelist,  has  made  an  interesting  ap- 
plication of  the  same  fact,  in  regard  to  the  influence  of  studious 
habits. 

Such  being  the  difficulties  in  regard  to  the  present  subject, 
we  have  found  the  following  additional  information  of  great 
service. 

A  speaker  may  know  when  his  voice  sounds  truly 
expressive,  and  when  he  himself  seems  to  others  to  be 
really  in  earnest,  by  the  fact  of  his  being  conscious  of  a 
convulsive  or  at  least  a  hearty  effort  at  the  bottom  of  the 
breast — of  a  thrill  throughout  the  entire  bodily  frame — 
and  especially  of  a  sensation  of  tingling  or  bunting  in 
the  cheeks. 

This  sensation  in  the  cheeks  will  not  manifest  itself  to  the 
eyes  of  the  spectators.  The  face  will  not  flush.  If  any  altera- 
tion takes  place  in  its  color,  it  will  be  rather  that  of  a  tendency 
to  paleness.  A  decided  flush  would  be  disagreeable  to  the  spec- 
tators, and  embarrassing  to  the  speaker.  Indeed,  a  sufficient 
reason  for  even  refusing  to  be  eloquent,  if  flushing  efface  were 
necessary  for  it,  would  be,  that  mere  theatrical  ranters  some- 


COMMUNICATING    THOUGHT.  129 

times  practise  a  trick  of  sending  the  blood  into  their  faces,  and 
thus  pretending  to  be  in  a  "  torrent,  tempest,  and  whirlwind  of 
passion." 

In  giving  the  above  directions  for  judging  of  one's  own  exhi- 
bition of  eloquent  feeling,  we  have  no  reference  to  tragedy,  nor 
exclusively  to  oratory  that  is  highly  impassioned.  Careful  ob- 
servation for  many  years,  of  audiences  as  well  as  speakers,  in 
court  rooms,  and  popular  meetings  of  various  sorts,  and  the  op- 
portunity of  testing  the  truth  of  our  conclusions,  by  prevailing 
on  young  men  to  try  them  in  the  way  of  experiment,  enable  us 
to  say  without  hesitation,  that  nothing  short  of  the  physical  ex- 
citement just  described,  will  produce  an  expression  that  will 
even  be  called  simply  animated,  and  that  too,  by  the  most  intel- 
lectual audiences. 

Under  the  present  head  we  have  written  strongly  in  favor  of 
the  healthfulness  of  vocal  gymnastics.  This  will  perhaps  seem 
strange,  in  view  of  the  fact  that  so  many,  especially  clergymen, 
lose  their  health  from  speaking.  Some  considerations  in  ex- 
planation of  this  evil,  will  be  found  in  the  third  part  of  this  trea- 
tise, under  the  head  of  Impassioned  Sentiment,  while  still  fur- 
ther attention  will  be  bestowed  on  the  same  subject,  in  the  sec- 
tion in  the  Appendix,  on  the  Health  of  Speakers. 

TONE    OF    COMMUNICATING   THOUGHT. 

Before  concluding  this  chapter,  it  is  necessary  to  caution  the 
student  in  respect  to  that  management  of  the  voice  by  which  all 
speaking,  whether  calm  or  impassioned,  is  characterized  by 
that  tone  which  indicates  an  especial  effort  to  inculcate  or  ex- 
plain our  ideas  to  others. 

The  most  universal  deficiency  in  the  delivery  of  those  who 
read  or  speak  what  they  have  previously  written,  is  the  absence 
of  that  appearance  of  a  direct  dealing  with  the  minds  of  the  au- 
dience, which  commonly  accompanies  an  extemporaneous  ad- 
12 


130  GENERAL    HABITS     IN    DELIVERY. 

dress.  So  considerable  indeed,  is  the  difference  between  these 
two  modes  of  making  addresses,  that  it  is  commonly  supposed 
impossible  to  give  to  the  former  as  much  freshness  of  interest  as 
is  expected  from  the  latter. 

In  opposition  however,  to  this  opinion,  let  it  be  borne  in  mind, 
that  but  few  speakers  have  hitherto  fairly  tried  the  experiment, 
of  endeavoring  so  to  manage  the  delivery  of  written  composition, 
that  their  elocution  shall  be  precisely  the  same  as  that  of  ex- 
temporaneous language.  If  the  attempt  be  faithfully  made,  it 
will  certainly  be  followed  by  a  satisfactory  degree  of  success. 
The  address  may  not  have  an  entire  appearance  of  being  extem- 
poraneous, but  if  not,  the  difference  will  be  in  the  more  method- 
ical style  of  the  composition,  rather  than  in  the  elocution. 

In  managing  elocution  with  reference  to  this  important  point, 
it  will  be  necessary,  indeed,  to  bring  into  use  all  the  general 
habits  of  delivery  which  we  have  hitherto  described,  yet  even 
these  may  not  ensure  this  result.  The  primary  object  of  all 
language  is  to  express  thought.  Even  in  composition,  which  is 
principally  addressed  to  the  imagination  and  feelings — such  as 
the  most  fanciful  or  sentimental  poetry — there  must  always  be 
a  course  of  thought  running  through  the  whole. 

It  is  the  want  of  the  tone  of  communicating  or  ex- 
plaining thought,  then,  that  constitutes  the  principal 
deficiency  when  the  delivery  of  compositions  formally 
prepared,  is  less  interesting  than  the  freshness  of  extem- 
poraneous address. 

In  the  present  treatise,  reading  and  recitation  being  design- 
edly omitted,  and  practical  speaking  being  its  exclusive  sub- 
ject, there  will  be  no  liability  to  error  in  saying,  that  a  speaker 
must  always  have,  as  a  sort  of  foundation  for  his  elocution,  the 
tones  of  explanation.  These  may  indeed  be  referred  in  general 
to  the  doctrines  of  inflexion  and  emphasis,  but  it  is  found  by 
experience,  that  sometimes  when  such  doctrines  have  been 


COMMUNICATING    THOUGHT.  131 

thoroughly  mastered,  there  still  remains  a  deficiency  in  respect 
to  our  present  subject.  A  strictly  scientific  explanation  of  this 
deficiency  can  be  given  only  by  methods  similar  to  those  em- 
ployed in  the  great  work  of  Dr.  Rush.  But  as  it  would  be  in- 
consistent with  the  character  and  objects  of  the  present  volume, 
to  enter  into  such  minuteness  and  intricacy  of  detail,  it  is  hoped 
that,  as  a  substitute  for  such  methods  of  treating  the  subject,  the 
following  directions  will  be  found  sufficiently  available. 

As  will  be  again  mentioned  in  the  third  part  of  this  work,  a 
tone  of  strongly  marked  explanation  causes  the  voice  to  proceed 
with  a  waving  slide  on  each  syllable,  or  at  least  on  those  which 
admit  of  long  quantity.  The  more  strongly  marked  emphases  are 
also  made  by  decided  changes  of  pitch.  The  emphatic  falling 
inflexions  are  either  given  with  waves  of  the  third,  or  of  a  still 
greater  interval,  or  with  a  sudden  change  in  key  through  the  same 
distance,  while  the  emphatic  rising  ones  begin  below  the  cur- 
rent pitch  and  slide  up.  Such  descriptions  however,  will  not  be 
very  intelligible,  except  to  the  readers  of  Dr.  Rush's  work,  or 
the  students  of  that  of  Prof.  Day,  or  Dr.  Comstock — or  perhaps 
of  some  others  which  have  lately  been  published,  but  have  not 
yet  fallen  within  our  observation — and  it  will  be  better  not  to 
continue  this  sort  of  description  further.  In  general  then, — 

In  the  tones  of  explanation,  the  vanishing  terminations 
of  words  and  of  accented  syllables,  are  significantly  pro- 
longed. The  voice  is  managed  with  an  especial  effort 
at  significant  flexibility,  and  has  a  waving  or  circumflex 
tone, 

A  pointed  expression  is  especially  given  to  the  ends 
of  words,  and  particularly  to  the  very  last  syllable  that 
precedes  a  rhetorical  pause. 

As  a  consequence  of  these  efforts,  the  articulation  be- 
comes peculiarly  definite,  and  assists  also  in  the  signifi- 
cant expression. 


132  GENERAL    HABITS     IN     DELIVERY. 

The  fixed  look  of  the  eye,  the  sympathizing  attitude >, 
and  the  significant  presentation  of  the  open  palm,  like- 
wise contribute  to  the  effect.  So  also  do  the  free  and 
yet  steady  stretching  forward  of  the  right  arm-,  and  the 
significant  gesticulations,  which,  while  it  is  thus  ex- 
tended, are  made  by  the  wrist. 

Accompanying  these  instinctive  movements  of  voice 
and  gesture,  the  speaker  feels  in  his  mind  a  certain  con- 
sciousness of  a  natural  power  of  holding  the  attention  of 
his  fellow  beings.  He  leads  their  understandings  along, 
step  by  step  and  word  by  word,  so  as  to  make  it  impos- 
sible for  them  not  to  understand  the  ideas  he  presents  to 
them  in  the  precise  way  that  he  wishes. 

Especially  does  he  feel  confident,  that  the  lively  and 
yet  deliberate  flexibility,  and  significant  precision,  which 
he  intentionally  gives  to  his  enunciation,  cannot  fail  of 
accomplishing  the  same  object. 

These  efforts  are  such  as  we  instinctively  make  in  deliberate 
conversation,  when  we  make  a  definite  effort  to  prevent  any  pos- 
sible misapprehension  of  our  meaning.  It  is  therefore  extremely 
easy  to  apply  them  in  public  speaking.  Nothing  more  is  neces- 
sary to  enable  even  juvenile  speakers  to  do  so,  than  an  intelli- 
gent conception  of  the  object  to  be  attained,  and  a  sufficient 
degree  of  steadiness  and  collectedness  of  mind.  , 

On  some  occasions  in  public  speaking,  it  is  scarcely  possible 
to  employ  them  too  strongly.  On  others,  grace  and  propriety 
require  more  or  less  relaxation  in  reference  to  them,  lest  the  de- 
livery become  too  precise  and  not  sufficiently  sentimental.  But 
let  it  be  again  enjoined,  that  no  composition  that  is  addressed  to 
others,  either  by  reading  or  speaking,  should  be  entirely  desti- 
tute of  the  peculiar  significance  bestowed  upon  delivery  by  the 
efforts  just  described. 


RHYTHM    AND     CADENCE.  133 

The  tones  employed  for  clothing  words  with  emphatic 
force  and  significance,  must  likewise  be  expressed  with 
sharply  defined  outlines.  When  the  voice  skips  up  or 
down,  the  change  must  be  bold  and  striking,  and  the 
tone  prolonged  with  such  steadiness  as  prevents  all  un- 
certainty and  indefiniteness.  Emphatic  tones  must 
have  a  clear  and  precise  meaning^  which  no  one  can 
possibly  mistake. 

Though  instinct  and  impulse  furnish  us  with  the  weapons  of 
oratory,  these  alone  are  never  sufficient.  The  higher  powers  of 
the  speaker's  mind  must  make  an  intentional  use  of  them,  as 
instruments  for  effect.  It  is  neither  blind  impulse  nor  deliber- 
ate intention,  that  singly  and  by  itself  will  produce  a  good  de- 
livery. Much  less  will  artifice  or  cunning.  Nor  can  hypocrisy 
be  made  successfully  effective.  For  the  time  at  least,  a  really 
good  speaker  puts  forth  those  efforts  which  characterize  a  sin- 
cere and  earnest  man.  He  may  indeed  be  morally  a  hypocrite, 
but  if  he  is  so  as  a  successful  orator,  he  is  a  profound  one.  His 
hypocrisy  is  of  that  deep  kind,  that  in  moral  actions  makes  use 
of  his  own  good  and  honest  impulses,  for  a  selfish  or  a  wicked 
end.  The  ancients  said  that  an  orator  must  be  a  good  man. 
They  probably  meant  that  mere  art  or  cunning  could  never  by 
imitation  of  external  acts,  succeed  in  employing  those  weapons 
which  are  furnished  only  by  sincere  feeling. 


CHAPTER  VII. 

• 

RHYTHM     AND     CADENCE. 

THE  subjects  to  be  considered  in  this  chapter,  need  to  be 
studied,  not  so  much  with  reference  to  significance,  force  and 
earnestness  of  delivery,  as  to  ease,  beauty  and  agreeable  effect. 
12* 


134  GENERAL     HABITS     IN     DELIVERY. 

The  qualities  of  delivery  which  we  are  now  to  describe,  are  in- 
deed equally  natural  with  those  which  we  have  considered  in 
previous  chapters,  and  in  this  respect  equally  important ;  for  in 
nature,  grace  and  strength,  significance  and  agreeableness,  can- 
not be  wholly  separated  from  each  other.  Yet  in  different  cir- 
cumstances, one  set  of  qualities  may  be  more  important  than 
another,  and  hence  require  a  more  peculiar  attention. 

The  rhythm  of  prose  is  easier  to  practise  than  to  explain  ; 
and  most  treatises  on  elocution  wholly  omit  the  consideration 
of  it.  In  other  works,  on  the  contrary,  it  has  been  made  the 
foundation  of  all  elocution.  We  shall  employ  our  best  efforts 
to  give  an  intelligible  and  useful  account  of  it,  so  far  as  this 
can  be  done  by  pursuing  the  same  plan  of  treatment  as  in  the 
rest  of  the  work.  A  strictly  scientific  description  can  be  given 
only  by  means  of  the  notation  of  music.  Even  the  doctrines 
of  modern  music,  however,  would  not  be  sufficient  to  explain 
thoroughly  the  subject  of  the  rhythm  of  speech.  It  would  be 
necessary,  in  addition,  to  adopt  the  distinctions  recognized  by 
the  ancients  in  their  metrical  systems.  They  considered  the 
subject  of  far  greater  importance  than  the  moderns,  and  carried 
their  investigations  of  its  principles  to  an  extent  that  the  latter 
find  it  difficult  not  only  to  adopt,  but  even  to  understand.  In 
fact,  much  of  the  knowledge  of  rhythm  which  was  familiar  to 
the  ancients,  has  been  lost,  and  is  not  yet  rediscovered. 

RHYTHM. 

Speech  consists  of  a  flowing  series  of  words,  express- 
ed by  successive  efforts  of  the  vocal  organs.  These  ef- 
forts are  of  two  kinds — first,  the  primary  and  stronger 
ones,  which  take  place  upon  accented  syllables ;  and 
secondly,  the  weaker  ones  upon  the  unaccented  syllables. 

There  is  also  a  third  and  intermediate  kind  of  effort,  by 
which  we  utter  syllables  that  have  what  is  called  secondary  ac- 


RHYTHM.  135 


cents.  In  practice,  however,  it  is  not  in  most  cases  necessary 
to  pay  particular  attention  to  these.  When  suitable  exertions 
are  made  on  the  primary  accents,  the  secondary  ones  will  not 
often  fail  of  being  correctly  given. 

It  is  a  law  of  our  mental  and  physical  organization, 
that  any  series  of  repeated  efforts  inclines  to  be  made 
with  uniform  regularity.  This  regularity  of  succession 
is  called  rhythm. 

Its  necessary  existence  in  speech,  as  in  other  bodily  efforts — 
to  say  nothing  of  it  as  a  law  of  the  mind — has  been  strangely 
overlooked  by  a  considerable  proportion  of  the  writers  on  phys- 
iology, on  language,  and  on  elocution.  It  is  interesting  to 
watch  the  rhythmical  succession  of  the  strokes  made  by  a 
blacksmith,  carpenter,  or  other  mechanic.  The  bells  on  a 
horse  keep  as  correct  time  (i.  e.  rhythm)  as  is  beat  by  the  con- 
ductor of  a  concert  or  leader  of  a  choir.  If  we  watch  any 
muscular  labor  or  exercise  whatever,  we  shall  observe  that  those 
who  are  most  skillful  and  can  endure  it  the  longest,  are  the 
most  regular  and  uniform,  or  in  other  words,  the  most  rhythmi- 
cal in  their  movements.  Stammering  consists  in  a  total  want 
of  rhythm  in  speech,  and  is  cured  almost  solely  by  means  of 
rhythmical  exercises.  Stammerers  find  no  more  difficulty  than 
others  in  singing,  because  music  is  distinguished  by  a  rhythm 
so  definite  and  invariable  as  to  be  instantly  apprehended,  and 
at  the  same  time  so  strongly  marked,  as  to  lead  the  mind  on- 
wards with  uniform  regularity. 

The  rhythm  of  poetry  is  the  same  as  that  of  music, 
and  is  determined  by  meter.  That  of  prose  is  perpetu- 
ally changing,  and  proceeds  according  to  no  unvarying 
law. 

The  latter  differs  from  the  former,  in  the  same  way  as  the 
varied  motions  of  running  and  leaping  in  some  active  sport,  do 


136  GENERAL    HABITS    IN     DELIVERY. 

from  the  regulated  and  definite  movements  of  dancing.  In  ut- 
tering prose,  the  rhythm  must  be  regular  for  short  passages  at 
a  time,  but  will  perpetually  vary  as  the  discourse  proceeds. 

A  fluent,  easy  and  varied  rhythm  is  indispensable  for 
a  speaker,  in  reference  to  keeping  up  an  animated  deliv- 
ery, without  incurring  unreasonable  fatigue.  If  his 
rhythm  is  bad,  he  must  either  discontinue  his  endeavor 
to  be  animated,  or  speedily  become  exhausted. 

It  is  of  equal  importance  for  the  audience.  They  re- 
ceive a  greater  amount  of  quiet  satisfaction  from  this, 
than  from  any  other  quality  of  good  reading  or  speak- 
ing. Nothing  else  will  prevent  their  becoming  weary 
and  restless  under  the  very  excitement  of  earnest  ad- 
dress. 

Rhythm  is  measured  by  time.  When  it  is  perfectly  regular, 
the  efforts  which  produce  the  accents  succeed  each  other  at 
equal  intervals.  In  music  and  dancing,  the  observance  of  reg- 
ular time  is  carefully  studied ;  but  it  is  not  generally  known, 
that  if  we  watch  a  fluent  and  graceful  extemporaneous  speaker, 
we  can  readily  beat  time  to  his  accents,  during  the  continuance 
of  short  passages  unbroken  by  a  pause.  It  is  the  frequency 
and  irregular  occurrence  of  pauses  in  the  delivery  of  prose,  that 
prevents  its  rhythm  from  being  as  noticeable  as  in  poetry.  In 
the  latter,  however,  still  greater  regularity  results  from  the  uni- 
form number  of  syllables. 

It  is  well  known  that  the  varieties  of  style  in  composition, 
differ  from  each  other  as  much  in  their  harmony,  that  is,  in 
their  rhythm,  as  in  any  other  quality,  and  that  this  is  an  impor- 
tant subject  of  attention  for  those  who  wish  to  write  well. 
Though  this  quality  of  style  belongs  rather  to  rhetoric  than  to 
elocution,  yet  as  the  more  rhythmical  the  style,  the  easier  is  the 
exhibition  of  rhythm  in  delivery,  we  shall  select  our  examples 


RHYTHM     OF     WORDS.  137 

from  passages  thus  distinguished.  The  finest  examples  of  the 
rhythm  of  our  tongue,  may  be  found  in  our  common  translation 
of  the  Bible,  and  in  the  liturgy  of  the  English  Church;  but  in 
a  work  like  the  present,  it  would  be  scarcely  decorous  to  extract 
examples  for  practice  from  these  sources. 

We  shall  distinguish  the  rhythm  of  prose  into  two  kinds — 
that  produced  by  the  succession  of  the  principal  accents,  and 
that  resulting  from  the  emphatic  words  of  clauses. 

RHYTHM    OF    WORDS. 

It  is  exceedingly  difficult  to  describe  this  to  the  eye.  A  sys- 
tem has  indeed  been  invented  for  the  purpose,  which  borrows 
from  music  a  notation  by  means  of  bars  and  rests ;  but  students 
of  elocution  find  it  extremely  perplexing,  while  it  is  at  the  same 
time  of  itself  very  deficient  in  accuracy.  In  reference  to  this 
subject,  as  well  as  in  regard  to  emphasis  and  inflexion,  we  have 
concluded  to  use  a  notation  of  a  very  simple  kind,  and  to  aim 
at  pointing  out  the  variations  of  the  voice  to  the  eye,  by  merely 
a  few  general  indications.  The  more  minute  discriminations 
must  be  learned  from  the  vocal  illustrations  of  the  teacher,  or 
be  suggested  by  the  natural  instincts  of  the  student.  The  dif- 
ficulty of  describing  prose  rhythm  is  still  further  increased  by 
the  fact,  that  while  in  general  secondary  accents  are  to  be  neg- 
lected, yet  when  words  or  groups  have  a  considerable  number 
of  syllables,  such  accents  often  become  nearly  of  equal  impor- 
tance with  primary  ones.  In  poetry,  both  are  reckoned  alike. 

In  the  following  short  examples,  the  words  will  be  divided 
into  the  groups  formed  by  the  accents.  Each  group  will  be 
separated  from  its  adjoining  ones,  although  in  some  cases  a  sep- 
aration will  take  place  between  words  so  connected  in  gram- 
mar, that  no  absolute  pause  is  strictly  admissible  between  them. 
Even  in  such  situations,  however,  there  occurs  what  may  be 
called  an  articulating  pause — one  in  which  there  is  a  marked 


138  GENERAL     HABITS     IN     DELIVERY. 

relaxation  of  vocal  effort,  closely  approaching  to  the  total  ces- 
sation that  takes  place  at  a  true  pause. 

We  must  improve  the  present  opportunity  to  complete  our 
account — designedly  left  imperfect — of  the  grouping  of  words. 

Every  principal  accent  gives  a  unity  to  a  group ,  and  a 
group  can  strictly  have  but  one  such  accent.  All  groups 
are  separated  from  each  other  by  pauses.  But  these 
pauses  are  of  two  kinds ,  grammatical  and  articulating. 
The  former  have  a  total  cessation  of  sound.  The  lat- 
ter have  a  relaxation  of  sound  and  a  prolongation  of 
time,  which  are  closely  similar  in  effect. 

In  reference  to  these  pauses  the  law  of  rhythm  is, 
that  all  groups  are  of  the  same  length,  during  the  con- 
tinuance of  a  single  phrase  of  delivery. 

For  an  account  of  the  principle  which  determines  the  length 
of  such  phrases,  we  must  still  refer  to  the  second  part  of  the 
present  treatise.  We  shall  presently  show  likewise  that  em- 
phatic words  occupy  just  twice  as  much  time  in  utterance  as 
they  would  if  unemphatic. 

For  our  first  extract,  in  default  of  examples  from  the  Bible 
or  Liturgy,  the  following  passage,  which  is  considered  one  of 
the  finest  in  McPherson's  Ossian,  will  perhaps  be  as  useful 
as  any  we  can  furnish.  McPherson's  rhythm  is  in  general  so 
spondaic  and  monotonous,  that  it  soon  palls  upon  the  ear,  We 
select  one  of  his  finest  passages,  yet,  like  the  rest  of  the  poem, 
it  exhibits  a  species  of  meter. 

We  shall  endeavor  to  indicate  the  rhythm  by  the  following 
mode  of  printing.  The  words  will  be  divided  into  their  groups 
of  articulation,  that  is,  into  such  as  have  but  one  primary  ac- 
cent to  each.  This  primary  accent  will  be  indicated  by  print- 
ing all  the  letters  of  the  accented  syllable  in  italics.  Secondary 
accents  will  be  marked  only  when  they  are  of  importance  in 
the  rhythm ;  but  if  so,  will  be  indicated  by  printing  merely  the 


RHYTHM     OF    WORDS. 


139 


vowel  in  an  italic  character.  When  a  word,  like  ocean,  has 
only  a  single  vowel  for  its  accented  syllable,  such  vowel  will 
often  be  printed  with  an  italic  capital,  to  distinguish  it  from  a 
secondary  accent. 

The  whole  is  to  be  read  smoothly,  and  with  natural  emphasis 
and  inflexion.  To  prevent  confusion,  however,  no  marks  of 
emphasis  or  inflexion  will  be  given.  It  will  be  well  sometimes 
to  practise  beating  time  to  the  reading  A  strictly  accurate 
notation  of  any  rhythm  should  indicate  all  the  pauses.  As  the 
result  of  considerable  experience  in  teaching,  we  have  conclu- 
ded to  indicate  these  by  the  mark  (||)  which  is  used  for  the  cae- 
sural  pause  in  poetry. 

EXAMPLES    FOR   PRACTICE. 

Whence     are  thy  beams,     \\     O    sun ! 

thy  everlasting     light  1 

Thou  comest    forth,     ||     in  thy  awful     beauty, 

and  the  stars     \\     hide    themselves     in  the  sky; 

the  moon,     ||     cold    and  pale, 

sinks     ||     in  the  western     wave. 

But  thou     thyself    \\     movest     a/one ; 

who     ||     can  be  a  companion     ||     of  thy  course? 

The  oaks    of  the  mountains     ||    fall; 

the  mountains       themsete     ||     decay     with  years; 

j the  Ocean     ||     shrinks     and  grows     again; 

the  moon     herself    \\     is  lost     in  heaven; 

but  thou     ||     art  former     the  same, 


140  GENERAL     HABITS     IN     DELIVERY. 

rejoicing     \\     in  the  brightness     of  thy  course. 
When  the  world     \\     is  dark    with  tempests, 
when  thujider     rolls,     \\     and  lightning    flies, 
thou  lookest,     ||     in  thy  beauty,     \\     from  the  clouds, 
and  laughest     \\     at  the  storm. 

We  next  select  a  passage  from  Sir  Walter  Scott,  which  is  a 
direct  and  especial  imitation  of  the  glowing  rhythm  employed  by 
our  translators,  in  their  versions  of  the  poetical  parts  of  the 
Bible.  Subsequent  translators  of  the  sacred  volume  have  been 
grievously  deficient  in  respect  of  an  ear  for  a  truly  animated 
and  yet  unaffected  English  rhythm.  Though  this  imitation  by 
Scott  is  striking,  it  is  yet  inferior  to  his  models.  Among  mod- 
ern writers,  perhaps  Edmund  Burke  and  Daniel  Webster  have 
the  highest  merit  in  respect  of  rhythm,  as  well  as  various  other 
requisites  of  rhetorical  splendor.  The  extracts  from  the  speeches 
of  the  latter,  that  are  commonly  selected  by  young  men,  are 
among  the  finest  in  respect  to  rhythm,  throughout  the  whole 
range  of  our  literature. 

In  the  following  extract  we  shall  mark  some  of  the  inflexions 
which  contribute  to  the  tune  of  the  passage. 

FROM    A    SERMON    AFTER   A    VICTORY. 


Your  garments     ||     are  dyed, 

\ 
but  not     ||     with  the  juice    of  the  wine-press  ; 

/ 
your  swords     \\     are  jilted    with  blood, 

\ 
bin  not     ||     with  the  blood     of  goafs     or  of  lambs; 

the  dust     of  the  desert     ||     on  whzch     ye  stand, 


RHYTHM     OF    WORDS. 


141 


is  made    fat     ||     with  gore, 


\ 


but  not     ||     with  the  blood    of  few/locks; 
for  the  Lord    \\     hath  a  sacrifice     j|     in  .Bozrah, 
and  a  great    slaughter     \\     in  the  land    ofldumea. 
Heaven     \\     has  been  with  you, 
and  has  oroken     ||     the  bow    of  the  mighty -, 

then,     ||    let  every  man's    heart, 

\ 
be     as  the  heart     \\     of  the  variant  Macca&eus; 

every  man's      hand, 

\ 
as  the  hand    of  the  mighty     Sampson  ; 

\ 
every  man's     sword     \\     as  that    of  Gideon, 

which  turned  not     back     H     from  the  slaughter. 

\ 
For  the  banner     ||     of  Reformation 

is  spread  abroad    on  the  mowntains     ||     in  its  Jirst     loveliness, 

and  theses     ||     of  hell 

shall  not     \\    prevail    against  it. 

Having  expressed  so  much  admiration  of  the  taste  and  judg- 
ment exhibited  by  the  translators  of  our  English  Bible,  it  seems 
incumbent  to  extract  a  single  passage  by  way  of  comparison — 
not  expecting  it  however,  to  be  used  like  the  others,  for  purposes 
of  common  drilling  and  instruction.  The  following  is  not  se_ 
lected  in  consequence  of  any  search  in  the  Scriptures  for  the 
finest  passages  in  respect  of  rhythm. 

13 


142  GENERAL    HABITS     IN    DELIVERY. 

FROM    THE    SONG    OF    MOSES. 

Thy     right     hand,     \\     O     Lord, 

is  became    ^forious     ||     in  power  :\ 
Thy     right    hand,     \\     O     Lord, 

hath  dash-ed     in  pieces    the  enemy.  \ 
And  in  the  greenness     H     of  thine  excellency, 

thott  hast  oveithroum   jj   them  that  rose  t/p    against  thee :  \ 
thou  sentest   forth     \\     thy  wrath, 

which  consumed  them     ||     as  stubble. 
And  with  the  blast    of  thy  nostrils, 

the  waters     ||     were  g  other  ed    together, \ 

thejloods     ||     stood  upright     as  a  heap, 

[sea. 
and  the  depths     ||    were  con gealed    \\    intheAearf    of  the 

The  enemy     said, 

\  \ 

I  will  purswe,     ||     I  will  overtake, 

I  will  d'u'idc     the  spoil ;\ 
my  lust    shall  be  satisfied     upon  them  :\ 
I  will  draw    my  sword, 

my  hand    shall  destroy  them. 

/ 
Thou     H     didst  How    with  thy  wind, 

the  sea     ||     covered  them, 


RHYTHM     OF    EMPHASIS.  143 

they  sank     \\     as  lead 

in  the  mighty    waters. 

Who    ||    ish'ke    uutothee    \\   O    Lord   \\    among  the  gods  ?  \ 
Who     ||     ish'ke     thee; 

glorious     ||     in  holiness, 
/earful     ||     in  praises, 

doing    wonders  ?\ 

RHYTHM    OF   EMPHATIC    WORDS. 

This  rhythm  is  formed  by  the  succession  of  phrases,  each  of 
which  has  a  unity  given  to  it  by  a  strongly  emphatic  word.  The 
principle  is  precisely  the  same  as  that  by  which  an  accented 
syllable  gives  unity  to  a  group.  As  in  the  rhythm  of  groups, 
the  voice  proceeds  from  one  accented  syllable  to  another,  and 
these  succeed  each  other  at  equal  or  nearly  equal  distances  in 
time,  so  in  the  rhythm  of  phrases,  the  progress  is  from  one 
strong  emphasis  to  another,  and  with  what  seems  to  the  ear 
like  a  uniformity  of  progress. 

These  facts  and  principles  are  substantially  the  same  in  elo- 
cution as  in  music.  The  rhythm  of  polysyllabic  words,  and  of 
groups  of  shorter  ones,  corresponds  to  that  of  the  measures  in 
music,  as  marked  by  their  bars ;  while  the  regulated  succession 
of  phrases,  each  having  a  single  prominent  emphasis,  is  the 
same  as  that  of  the  strains  of  a  tune.  It  is  well  known  to  sci- 
entific musicians,  that  generally  each  strain  of  a  tune  has  an  em- 
phatic portion,  which,  in  the  best  style  of  performance,  makes 
the  strongest  impression,  while  the  succession  of  strains  is 
marked  by  the  emphasis  in  the  middle,  as  well  as  by  the  cadences 
at  the  close  of  each.  The  same  things  are  true  of  meters  in 
poetry. 


144  GENERAL    HABITS    IN    DELIVERY. 

A  rhetorical  style  is  as  much  distinguished  by  a  striking 
rhythm  of  emphasis  and  phrase,  as  by  any  other  characteristic. 
What  is  called  poetical  prose,  generally  has  a  rhythm  so  very 
striking  and  uniform,  as  to  amount  to  a  species  of  meter,  and 
on  this  as  well  as  other  accounts,  is  always  considered  as  not 
being  in  the  very  best  taste.  What  is  called  a  balanced  style, 
is  one  in  which  the  successive  phrases  are  too  uniformly  of  the 
same  length,  while  the  emphatic  words  recur  too  nearly  in  the 
same  part  of  each.  As  exemplifications  of  the  extreme  of  a  prin- 
ciple are  most  readily  understood,  we  shall  first  select  an  ex- 
tract from  a  composition  in  which  the  phrases  are  exactly  bal- 
anced— the  general  character  of  the  style  being  also  that  of 
poetical  prose.  Such  passages  are  favorite  ones  with  juvenile 
speakers,  and  are  useful  in  exciting  rhetorical  enthusiasm,  yet 
on  the  other  hand,  their  too  musical  rhythm  naturally  leads  to  a 
tone  in  reading  or  speaking. 

We  ought  however  to  remark,  that  the  extracts  which  we  fur- 
nished in  the  previous  section,  illustrate  in  some  respect  our 
present  subject,  as  well  as  that  for  which  they  were  selected. 
It  is  impossible  to  find  striking  passages  of  any  length,  whose 
rhythm  shall  be  exclusively  that  of  unemphatic  words. 

We  shall  continue  the  same  scheme  of  notation,  but  in  addi- 
tion shall  generally  mark  the  most  emphatic  words  by  inflex- 
ions. We  shall  also  endeavor  so  to  arrange  the  lines  as  to  show 
the  parallelism,  both  of  the  phrases  and  of  the  emphases.  To 
simplify  the  notation  still  farther,  we  shall  not — as  was  done  in 
the  last  section — separate  all  the  accentual  groups  from  each 
other. 

FROM    "ROLLA   TO   THE    PERUVIANS." 

\  / 

They     ||     follow  an  adventurer     ||     whom  they  fear, 

/  \ 

and  obey  a  power          \\     which  they  hate. 


RHYTHM    OF    EMPHASIS. 


145 


We     ||     serve     a  monarch 
SL  God 


whom  we  love, 

\ 

whom  we  adore. 


Whenever  they  move  in  anger, 

\ 
desolation 


tracks  their  progress.  \ 


Wherever  they  pat/se  in  amity, 

affliction       \\     mourns  their/Kena'ship.  \ 

Such  composition,  as  will  readily  be  perceived,  is  in  fact  met- 
rical. It  would  be  a  useful  exercise  for  the  student  to  arrange, 
in  similar  modes,  the  whole  speech,  which  may  be  found  in  most 
books  of  extracts  for  reading  and  speaking.  To  make  further 
extracts  in  this  place,  from  compositions  written  in  a  style  so 
vicious,  would  be  superfluous. 

Let  us  rather  substitute  a  magnificent  passage  from  Plunket, 
which  probably  approaches  as  near  in  its  rhythm  to  the  inva- 
riableness  of  poetry,  as  can  be  permitted  in  prose.  Plunket  was 
an  Irish  orator,  and  while  equal  to  any  of  his  countrymen  in 
splendor,  was  perhaps  superior  in  manliness  of  taste. 

I  shall  6ear  in  my  heart, 

the  consciousness     ||     of  having  done  my  duty,\ 
and  in  the  hour  of  death, 

I  shall  not     ||     be  haunted  by  the  rejection 
of  having  oasely  sold, 
or  meanly  a&andoned, 

the  liberties     j|     of  my  native  land.\ 
13* 


146  GENERAL    H  A.  B  I  T  S    IN    DELIVERY. 

/ 

Can  every  man, 

/ 
who  gives  his  vote,     ||     on  the  other  side, 

/ 
this  night, 

/ 
lay  his  hand     \\     upon  his  heart, 

/ 
and  make  the  same     \\     declaration? 

\/ 
I  hope  so — 

it  will  be  well     \\     for  his  own  peace  ;\ 

/ 

the  indignation     ||     and  abAorrence     ||     of  his  countrymen, 

/ 
will  not  accompany  him     ||     through  life, 

/ 
and  the  cwrses     ||     of  his  cAtYdren 

will  not  follow  him     ||     tohisgrave.\ 

Our  subject  being  of  the  highest  practical  importance,  we 
shall  extract  another  passage  from  the  same  speech  of  Plunket's, 
which  will  illustrate  the  compatibility  of  uniting  the  most  mag- 
nificent rhythm,  with  the  most  powerful  argumentation.  We 
shall  mark  a  few  inflexions,  and  print  some  words  in  capitals  to 
show  their  importance  in  the  rhythm  as  well  as  the  reasoning. 

.     \ 
Sir,     I  THANK     H     the  administration 

for  Ziitempting     \\     this  measure. \ 
They  are,     ||     without  intending  it, 

pwtting  an  end    \\     to  our  dissensions.  \ 
Through     this     \\     black    cloud, 


RHYTHM    OP    EMPHASIS.  147 

which  they  have  collected  over  us, 

\ 
I    see     ||     the  LIGHT 

breaking  in     \\     upon  this  unfortunate  country. \ 
They  have  composed 
our  dissensions  ;\ 

NOT     ||     by  fomenting  the  embers 

/ 
of  a  lingering     ||     and  subdued    \\     rebellion, 

/ 
NOT     ||     byhalfooing  the  Protestant    [|    agmnst  the  Catholic, 

/ 
and  the  Catholic     ||     against  the  Protestant, 

NOT     ||     by  inconsistent  appeals 

/ 
to  local     ||     or  party  prejudices, 

N'O! 

\ 
but     ||     by  the  avowal 

/  / 

of  this  atrocious  conspiracy     1 1     against  the  /Gerties  of  Ireland ; 

\ 
they  have  subdued 

every  petty     \\     and  subordinate  distinction.  \ 

\ 
They  have  um'ted     H     every  rank  and  description  of  men, 

by  the  pressure    1 1    of  this  grand  and  momentous  sw&ject ;  \ 

/ 
And  I  tell  them,  \ 

[Ireland, 
they  will  see     H     every  Aonest  and  independent  man     ||     in 

RALLY     il     rownd  her  constitution, \ 


148  GENERAL    HABITS     IN    DELIVERY. 

and  merge     \\     every  consideration 

in  his  opposition 

to  this  ungenerous     ||     and  odious  measure. 
For  my  own  part, 
7  will  rests/  it     ||     to  the  last  gasp  of  my  existence, 

and  with  the  last  drop     ||     of  my  6/000*  ;\ 

and  when  I  feel    ||     the  hour  of  my  dissolution  approaching, 

\ 
J  will     ||     like  the /other  of  //annibal, 

\ 
take  my  children     \\     to  the  a/tar, 

\ 
and  swear     \\     THEM 

to  eternal  hostility 

against  the  invaders     !|     of  my  country 's  freedom. 

RHYTHM    PRODUCED    BY    QUANTITY. 

The  italic  character  which  we  have  hitherto  employed  to  in- 
dicate the  accents  of  rhythm,  suggests  to  the  mind  of  the  reader, 
stress  or  force  rather  than  prolongation.  The  examples  we 
have  thus  far  given,  will  exhibit  fine  rhythms,  even  if  quantity 
be  to  some  extent  neglected.  The  most  natural  mode  of  read- 
ing or  speaking  them,  will  indeed  be  characterized  by  frequent 
prolongation,  as  well  as  by  stress,  but  it  has  been  deemed  ad- 
visable to  simplify  the  notation,  by  omitting  all  marks  of  quantity. 

In  the  two  passages  which  we  next  present,  the  rhythm  de- 
pends more  on  prolongation,  than  on  accentual  or  emphatic 
stress.  We  shall  therefore  print  them  in  such  a  way  as  particu- 


RHYTHM     OF     QUANTITY 


149 


larly  to  attract  attention  to  this  prolonged  dwelling  of  the  voice 
on  certain  words  and  groups.  The  mode  which  we  adopt,  is 
that  of  separating  the  letters  of  a  word,  from  each  other.  This 
is  the  German  fashion  of  indicating  the  importance  of  words,  in 
situations  in  which  the  English  and  Americans  are  accustomed 
to  substitute  italic  for  roman  characters.  When  a  word  is  em- 
phatic by  stress  alone,  without  being  at  the  same  time  strikingly 
prolonged,  we  shall  indicate  its  emphasis  by  italics  or  capitals, 
as  in  our  other  examples. 

The  rhythm  which  we  are  now  considering,  has  not,  so  far 
as  we  know,  been  hitherto  described,  in  books  of  rhetoric  and 
elocution.  Quantity  has  indeed,  been  generally  recognized  as 
an  important  quality  of  syllables,  and  the  fact  that  it  is  most 
conspicuous  in  the  utterance  of  those  which  are  accented  and 
emphatic,  is  now  universally  known.  But  the  fact  that  not  only 
the  accented  syllables  of  polysyllabic  words,  but  entire  emphatic 
words  and  groups,  are  often  extremely  prolonged  in  the  time  of 
their  utterance,  has  not,  we  believe,  been  mentioned.  If  our 
memory  is  inaccurate  in  this  respect,  and  such  prolongation  has 
been  previously  described,  still  its  importance  and  the  frequency 
of  its  occurrence  in  either  impressive  or  graceful  delivery,  has 
certainly  not  received  a  due  appreciation. 

Not  only  accented  and  emphatic  syllables,  but  long 
words  and  complete  groups  and  phrases,  are  often  given 
with  a  total  change  in  the  rate  of  utterance.  The  time 
of  the  tune  (to  use  musical  language)  is  changed  at  once, 
from  a  quick  movement  to  a  slow  one. 

By  resorting  to  accurate  observation  and  experiment, 
it  may  be  demonstrated  with  absolute  certainty,  that 
these  emphatic  words,  groups,  or  phrases,  are  exactly 
twice  as  slow — each  accentual  group  occupying  two 
beats  instead  of  one. 


150  GENERAL     HABITS     IN     DELIVERY. 

This  change  of  time  is  common  in  impressive  sacred  music. 
We  may  sometimes  observe  at  the  close  of  an  anthem,  that  for 
two  or  three  measures,  the  time  changes  to  notes  of  twice  the 
length.  The  movement  being  the  same,  crotchets  are  changed 
to  minims,  minims  to  semibreves,  and  so  with  other  notes. 
The  effect  of  the  change  is  precisely  the  same  in  music  as  in 
elocution.  The  same  principle,  however,  is  exemplified  in  va- 
rious other  passages  of  music  besides  those  we  have  just  men- 
tioned. Whenever  for  the  sake  of  emphasis,  either  in  vocal  or 
instrumental  music,  a  succession  of  long  notes  is  substituted 
for  short  ones  in  the  same  movement,  it  is  for  the  same  reason. 

It  was  not  theoretically,  or  merely  in  parlor  reading,  that  we 
first  ascertained  the  practical  importance  of  this  principle.  We 
have  for  many  years  found  it  extremely  difficult  to  teach  com- 
plete heartiness  of  expression  on  emphatic  words  and  clauses. 
No  matter  how  powerful  and  earnest  the  example  set  by  the 
teacher,  the  student  would  often  fall  short  of  expressing  real 
earnestness.  Though  apparently  exerting  himself  to  the  ut- 
most, his  voice  yet  gave  no  expression  but  that  of  an  unmean- 
ing force ;  or  it  seemed  to  fall  short  of  earnestness,  from  diffi- 
dence or  want  of  breath.  In  reference  to  such  cases  we  final- 
ly ascertained,  after  resorting  to  various  modes  of  teaching, 
that  the  information  we  have  just  communicated  was  precisely 
that  which  the  student  most  needed.  This  knowledge,  joined 
to  the  directions  in  our  early  chapters  for  practising  a  thorough 
expulsion  of  the  breath,  enables  every  student  of  delivery  to 
give  a  true  emphatic  earnestness. 

It  is  philosophically  interesting  in  a  high  degree,  to  notice 
the  operation  of  this  principle  in  enabling  a  person  to  speak 
with  ease  in  the  style  required  for  the  open  air.  In  this  situa- 
tion, speaking  is  necessarily  so  slow,  that  it  is  easy  to  estimate 
accurately  the  time  that  elapses  between  the  successive  accents. 
Emphatic  words  will  be  noticed  as  occupying  just  twice  as  much 
time  as  others. 


RHYTHM     OF    QUANTITY. 


151 


The  following  extract  from  Burke,  is  a  surprising  instance  of 
the  power  of  language  and  style,  when  managed  by  a  man  of 
genius,  in  elevating  the  most  unpromising  subject  into  rhetori- 
cal dignity  and  splendor. 


NEW    ENGLAND    WHALE    FISHERY. 

As  to  the  wealth,     ||     Mr.  Speaker,  / 

[fisheries, 
which  the  colonies     ||     have    drawn  from  the  sea,     ||     by  their 


\ 


you  had  all  that  matter 

fu  1 1  y  explained     ||     by  Dr.  F  ranklin. 

And  pray,  sir,     ||     what  in  the  world 

\ 
is  equal  to  it  ? 

P  a  s  s  b  y     ||     the  other  parts, 

and  look  at  the  manner     ||     in  which  the  people  of  New  England 

have,  of  late,     ||     carried  on  the  whale  fishery.  / 

[ice, 
Whilst  we  follow  them     ||     among  the  tumbling  mountains  of 

and  behold  them     ||     penetrating  into  the  deepest  frozen  recesses 

/ 
of  Hudson's  Bay,     ||     and  Davis's   Straits, 

whilst  we  are  looking  for  them     ||     beneath  the  Arctic  circle, 

we  hear  that  they  have  pierced     ||     into  the  op posi  te  region  of  po- 

\  [lar  cold ; 

that  they  are  at  the  Antipodes; 

and  engaged  under  the  Frozen  Serpent    ||    oftheSouth.\ 
Falkland  Island, 

which  seemed  too  remote     \\     and  romantic  an  object 
for  the  grasp     ||     of  nationa  1  ambition, 


152  GENERAL    HABITS    IN    DELIVERY. 

is  but  a  stage, 

and  resting  place, 

in  the  progress     ||     of  their     ||     victorious  industry. 

Js or  is  the  equinoctial  heat 

/ 

more  discouraging  to  them, 

than  the  accumulated  winter     ||     of  both  the  poles. 
We  know     ||     that  whilst  some  of  them 

draw  the  line,     |j     and  strike  the  harpoon, 

/ 

on  the  c  o  a  s  t  of  Africa, 

others 

run  the  longitude, 

and  pursue  their  gigantic  game 

along  the  coast  of  Brazil. 

\ 
No  sea 

/ 

but  what  is  vexed     ||     by  their  fisheries, 

no  climate 

that  is  not  witness     j|     to  their  toils. \ 

/ 

Neither  the  perseverance     ||     of  H  o  1 1  a  n  d  , 

nor  the  activity     ||     of  F  r  a  n  c  e  , 
nor  the  dexterous     ||     and  firm  sagacity 

of  English  enterprise, 

ever  carried 

this  most  perilous  mode     ||     of  hardy  industry 
to  the  extent     ||     to  which  it  has  been  pushed 
by  this  recent  peoplej\ 


RHYTHM     OF    QUANTITY.  153 

a  people 

who  are  still,  as  it  were,     l|     but  in  the  gristle, 
and  not  yet     ||     hardened  into  the  bone 

of  manhood. 
When  I  contemplate     ||     these  things; 

when  I  know     ||     that  the  colonies,     ||     in  general, 

/ 

owe  little  or  nothing     ||     to  any  care  of  ours; 

/ 

and  that  they  are  not     |{     squeezed  into  this  happy  form, 

/ 

by  the  constraints   ||   of  a  watchful    ||   and  suspicious  go  vern  me  nt; 

but  that  through  a  w i s e     |j     and  salutary  n  eglec  t, 

\ 
a  gen  erous   nature 

\  / 

has  been  suffered     ||     to  take  her  own  way     |j     to  perfection ; 

when  I  reflect     ||     upon  these  effects, 

/ 
when  I  see  ~~||     how  pro fi table  they  have  been  to  us, 

I  feel  a  1 1  the  pride  of  power     ||     sink,\ 

/ 

and  all  presumption     ||     in  the  wisdom  of  human  contrivances 

melt     ||     and  die  away  within  me.\ 
My  rigor     ||     relents. \ 

I  pardon     |{     something 

to  the  s  p  i  r  i  t     ||     of  1  i  b  e  r  t  y  . 

Our  next  extract  is  likewise  from  Burke,  and  is  commonly 
called  his  Apostrophe  to  the  Queen  of  France.  We  do  not, 
however,  quite  perceive  the  propriety  of  styling  it  an  apostro- 
phe. It  may  be  considered  as  carrying  the  peculiar  style  of 
composition  in  which  it  is  written,  to  the  utmost  allowable  ex- 
treme. We  feel  bound  to  apologize  for  making  any  rhetorical 

14 


154  GENERAL     HABITS     IN     DELIVERY. 

criticisms  in  our  work,  because  we  consider  it  a  most  injurious 
mistake  for  teachers  of  elocution  to  suppose  themselves,  as  some 
seem  to  do,  to  be  really  employed  in  teaching  oratory.  Unless 
elocution  is  distinctly  separated  from  oratory,  no  useful  attain- 
ments will  be  made  in  either.  Delivery  will  become  bombastic 
and  ranting,  while  composition  will  substitute  sound  for  sense, 
and  theatrical  clap-trap  for  clear  exposition  and  eloquent  appeal. 
Still  we  do  not  think  the  time  has  yet  arrived  for  attempting  to 
teach  all  the  legitimate  resources  of  powerful  and  interesting 
elocution,  exclusively  on  compositions  no  more  rhetorical  than 
students  will  find  strictly  appropriate  in  future  dealings  with  their 
fellow  men.  A  rhetorical  structure  of  style,  for  a  long  time 
renders  great  assistance  in  awakening  the  imagination  and  feel- 
ings, during  the  practice  of  speaking.  This  is  the  only  excuse 
for  tolerating  the  absurdity  of  declaiming,  instead  of  reading  or 
reciting  poetry  in  public.  We  suggest  these  hints  at  present, 
but  shall  remark  further  on  such  matters  when  we  come  to  de- 
scribe the  lessons  and  subjects  of  study  for  the  Junior  and  Se- 
nior classes. 

QUEEN   ANTOINETTE. 
It  is  now     j|     sixteen  or  seventeen  years, \ 
since  I  saw  the  Queen  of  France,     \\     then  the  Dauphiness, 

at  Versailles  ;\ 

and  surely     ||     never  lighted  on  this  orb, 
which  she  hardly     ||     seemed  to  touch, 

a  more  delight f u  1  vision. 
I  saw  her     ||     just  above  the  horizon  ,  \ 
prorating  and  cheering     ||     the  elevated  sphere 
she  just  began  to  move  in;\ 
glittering     ||     like  the  morning  star; 


RHYTHM    OP    QUANTITY.  155 

full     ||     of  life 
and  splendor 
and  joy. 

Oh !     ||     whatarevolution!\ 

and  what  a  h  ear  t     ||     must  I  have, 

to  contemplate     ||     without  emotion , 

that     I)     elevation, 

and  that     ||     fall.\ 

Little     ||     didl  dream,  \ 

that,  when  she  added     ||     titles  of  vene  ration  , 

to  those  of  enthusiastic,     ||     distant,     l|     respectful  love, 

that  she  should  ever     ||     be  obliged  to  carry 

the  sharp  antidote     ||     against  disgrace 

concealed     ||     in  that  bosom; 
little     ||     did  I  dream 
that  I  should  have  lived     ||     to  see  such  disasters     ||     fallen  upon  her 

in  a  nation     ||     of  gallant  men;\ 

in  a  nation  of  men  of  honor, 

and  of  cavaliers. 
I  thought     ||     ten  thousand  swords 
must  have  leaped     ||     from  their  scabbards, 
to  avenge     ||     even  a  look 

that  threatened  her     ||     with  insult. 
But  the  age     ||     of  chivalry 

is  gone. 


156  GENERAL    HABITS     IN    DELIVERY. 

That  of  sophisters,     \\     economists     ||     and  coZculators, 

has  succeeded, 
and  the  glory  of  Europe 

is  extinguished     jj     forever. 
Never,     ||     nevermore 
shall  we  behold 

that  generous  loyalty     ||     to  rank  and  sex,\ 
that  proud     ||     submission, \ 
that  dignified     ||     obedience, \ 
that  subordination     ||     of  the  heart, 
which  kept  alive     |j     even  in  servitude     ||     itself 

the  spirit     ||     of  an  exalted  freedom.\ 
The  un bought  grace     )|     of  life, 

the  cheap  defe nee     jj     of  nations, 

[prise, 

the  nurse     ||     of  manly  sentiment     ||     and  heroic  enter- 
is  gone. 
It  is  gone,     ||     that  sensibility     ||     of  principle, \ 

that  chastity     ||     of  honor, \ 

/ 

which  felt  a  stain, 

like  a  wo  und ;  \ 

which  inspired  courage, 

whilst  it  mitigated     ||     ferocity;\ 
which  ennobled 

whatever  it  touched;  \ 
and  under  which     j|     vice  itself,  \ 
lost  half    ||     its  e  v  i  1 , 

by  losing  all     j|     its  gross  ness  . 


FAMILIAR    RHYTHM.  157 


FAMILIAR    RHYTHM. 

We  have  hitherto  furnished  such  examples  only,  as  exhibit 
rhythms  of  the  most  striking  kinds.  Even  the  dullest  ear  feels 
the  charms  of  such  composition.  But  all  prose  is  clothed  with 
an  agreeable  rhythm,  when  issuihg  from  the  lips  of  an  accom- 
plished reader  or  speaker.  It  has  been  said  of  the  celebrated 
Lord  Mansfield,  that  his  elocution  gave  even  to  the  driest  legal 
documents  a  charm  as  of  poetry  or  song.  Even  in  unpremed- 
itated conversation,  those  who  have  agreeable  voices  often  su- 
peradd  to  the  other  graces  of  their  manner,  the  fascination  of 
rhythm  ever  varying,  yet  always  musical.  Strong  excitement 
of  the  imagination  and  feelings,  while  it  makes  poets  break 
into  unpremeditated  song,  exerts  a  similar  influence  on  men  of 
every  variety  of  character.  Outpourings  of  love,  friendship,  or 
sympathy,  are  uttered  by  all  persons  alike  in  rhythmical  modu- 
lations of  voice,  as  well  as  in  language  more  or  less  imaginative 
and  poetical.  Indignation  and  the  harsher  or  sterner  feelings, 
have  likewise  a  strong  and  abrupt  rhythm  of  their  own.  The 
profound  emotion  and  the  concentrated  meditation  of  earnest 
extemporaneous  prayer — freeing,  as  they  do,  the  higher  faculties 
from  the  restraining  and  disturbing  influences  of  egotism—*- 
have  an  astonishing  effect;  prompting  even  in  unlettered  minds, 
a  copious  flow  of  elevated  language,  poured  out  in  a  rhythm 
like  that  of  a  grand  voluntary  on  an  organ. 

The  perpetually  varied  rhythm  which  may  be  made  to  con- 
stitute the  highest  charm  of  familiar  delivery,  cannot  be  ade- 
quately represented  to  the  eye,  unless  we  resort  to  the  notation 
of  music;  while  even  this  would  need  to  be  enriched  with  q, 
still  larger  number  of  discriminating  marks.  Even  when  illus- 
trated by  the  voice  of  a  captivating  speaker,  it  is  not  always 
fully  appreciated  by  an  auditory,  until  after  long  cultivation  of 
the  ear.  Not  only  the  varying  length  and  slovyness  of  the 

14* 


158  GENERAL     HABITS     IN     DELIVERY, 

phrases,  together  with  the  rhythm  of  the  emphatic  words,  but 
the  secondary  accents  and  the  separate  syllables  of  words,  con- 
tribute to  the  whole  effect.  As  the  syllables  fall  trippingly  from 
the  tongue,  each  has  its  place  in  the  tune,  like  the  rapid  notes 
of  spirited  instrumental  music. 

To  assist  therefore  still  farther  in  forming  the  ear  for  the  mu- 
sic of  style,  we  shall  extract  a  passage  from  a  lecture  delivered 
by  Mr.  Webster  before  a  Mechanics'  Institute.  For  the  pur- 
pose of  exhibiting  the  peculiar  grace  and  beauty  of  the  tripping 
flow  of  speech  with  which  such  compositions  should  be  read  or 
spoken,  we  shall  divide  the  words  into  their  constituent  sylla- 
bles, and  mark  the  secondary  as  well  as  the  primary  accents. 
We  have  divided  the  words  into  the  smallest  practicable  groups, 
but  in  reading  each  line,  care  must  be  exercised  that  in  many 
cases,  none  but  articulating  pauses  are  made  during  the  course 
of  a  phrase.  The  utterance  must  proceed  with  a  smooth  flu- 
ency. The  most  graceful  delivery  of  such  passages,  is  with 
such  tripping  distinctness  on  the  unaccented  syllables,  that  the 
reading  or  speaking  will  often  appear  to  some  as  if  much  more 
rapid  than  it  really  is. 

Ma-cAi-ner-y     ||     is  made  to  per-form 

what  has  /or-mer-ly     ||     been  the  toil    of  Au-man  hands, 

to  an  ex-tent     \\     that  as-ton-ish-es     the  most  san-guine, 

with  a  de-gree     of  pow-er 

to  which  no  nuwi-ber      of  Au-man  arms     \\     'is  £-qual, 

and  with  such  pre-cz>-ion     ||     and  ex-act-ness, 

as  al-most  to  sug-gest 

the  no-tion     ||     of  rea-son    and  in-teMi-gence, 

in  the  ma-cAines    them-selves. 

Ev-e-ry     nat-u-ral  .4-gent 

is  put  un-re-Zeai-ing-lj     ||     to  the  task. 


FAMILIAR    RHTfTHM.  159 

The  winds     \\     work, 

the  w>a-ters     ||     work, 

the  e-las-to'-ci-ty     of  met-a\s     \\     works; 

grav-i-ly     \\     is  so-Zi-ci-ted    in-to  a  thou-aand    new  forms    ofac-tion; 

Ze-vers     ||     are  muZ-ti-plied    up-on  Ze-vers ; 

wheels    \\     re-volve    up-on  the  per-ipA-er-ies    of  o*A-er  wheels ; 

the  saw    and  the  plane 

are  tor-tured     ||     in-to  an  ac-com-mo-da-tion     to  new  U-sea  ; 

and  last    of  all    \\     with  in-iwi-i-ta-ble  pow-er, 

and  with  whirl-wind  sound, 

comes  the  yo-tent  ^3-gen-cy     ||     of  steam. 

In  com-j>ar-i-son     with  the  past, 

what  cen-tu-ries    ||     of  im-prove-ment 

has  this    sin-gle    ^-gent 

corn-prised     \\     in  the  short  corn-pass    offif~iy  years! 

JSp-er-y  where     ||    yrac-ti-ca-ble, 

et>-er-y  where     ef^-cient, 

[cu-les, 
it  has  an  arm    \\     a  thou-s&nd  times    strong-er     \\     than  that  of  Her- 

and  to  which     /m-man  in-ge-nw-i-ty 

is  ca-pa-ble     ||     of  ^-ling     a  ^ou-sand  times    as  ma-ny  hands, 

as  be-Zon^ea*    to  Bri-a-reus. 

Steam    \\     \sfound    in  tri-uw-phant  op-er-a-tion     ||     on  the  seas; 

and  wn-der  the  in-flu-ence    of  its 


160  GENERAL     HABITS     IN    DELIVERY. 

the  gal-lanl  ship 

"A.~gainst     the  wind,      [     ^-gainst     the  tide, 
Still     stead-ies     £     with  an  up-right     keel." 

It  is  on  the  riv-ers, 

and  the  boat-man    may  re-pose    on  his  oars  ; 

it  is  in  Ai^A-ways, 

[ance ; 
and  be-gins  to  ex-erf  it-sc//"    ||     a-long  the  co«r-ses    of  land  con-vey- 

it  is  at  the  ooMom     of  mines, 

a  fAou-sand  feet     \\     be-low  the  earth's  sur-face ; 

it  is  in  the  mill,     \\     and  in  the  worfc-shops    of  the  trades. 

It  row?*,    it  pumps,    it  ez-ca-vates,     j]     it  car-ries,    it  draws,    it  lifts, 

it  Aam-mers,    it  spins,    it  weaves,    it    prints. 

It  seems  to  say    to  men, 

at  Zeoft     ||     to  the  class    of  ar-ti-sans, 

a  Leave  off    \\     your  man-u-al  Za-bor, 

^ire  0-ver     ||     your  &od-i-ly  toil; 

be-stow    but  your  skill    and  rea-son 

to  the  di-recf-ing     of  my  pow-eT, 

and  /    l|     will  bear  the  toilt — 

with  no  7?iM5-cle     ||     to  grow  wea-ry, 

no  nerve     \\     to  re-lax, 

no  breast     \\     to  feel  /ai7^-ness." 

Before  leaving  the  subject  of  rhythm,  we  ought  to  caution 
against  supposing  that  we  think  prose  compositions  of  the  high- 


FAMILIAR   RHYTHM.  161 

est  beauty  of  style  must  necessarily  possess  rhythms  similar  to 
those  of  the  extract  which  we  have  furnished.  So  difficult  is 
it  to  illustrate  this  subject  by  description  merely,  or  even  by  vo- 
cal exemplifications  unaccompanied  with  a  minute  and  tedious 
commentary,  that  we  have  designedly  chosen  passages  in  which 
the  rhythms  are  of  the  kind  most  readily  appreciated  by  those 
who  have  devoted  little  or  no  attention  to  the  beauties  of  style. 
The  rhythms  of  some  of  our  finest  writers — Southey,  Coleridge 
and  Paley,  for  instance — exhibit  less  approximation  to  meter ; 
and  while  for  this  reason  they  make  less  impression  on  an  un- 
cultivated ear,  they  are  yet  pronounced  by  the  best  critics  to  be 
on  this  very  account  superior  in  agreeable  effect.  We  believe 
the  best  judges  consider  the  most  difficult  attainment  in  the 
management  of  prose  style,  to  be  the  exhibition  of  harmony, 
i.  e.  rhythm,  without  at  the  same  time  repeating  any  one  tune 
so  often,  that  the  ear  gets  accustomed  to  and  anticipates  it. 

It  will  be  noticed  that  we  place  rhythm  among  the  General 
Habits  of  Delivery.  As  the  subject  is  so  difficult  of  explana- 
tion, and  understood  and  appreciated  by  so  small  a  proportion 
of  teachers  and  students  of  elocution,  this  location  may  excite 
surprise.  It  may  seem  like  expecting  too  much  from  the  young- 
er students,  that  they  shall  acquire  habits  of  varied  and  agree- 
able rhythm  during  the  introductory  and  elementary  part  of  the 
study  of  practical  speaking. 

Our  readers  may  smile  when  they  find  us  again  insisting  up- 
on practice  in  very  large  rooms,  and  in  the  open  air.  Yet  for 
the  acquisition  of  rhythmical  habits,  as  of  so  many  other  requi- 
sites of  an  agreeable  delivery,  practice  in  such  situations  is  in- 
dispensable. When  external  circumstances  interpose  no  check 
to  the  flow  of  free  and  hearty  efforts,  rhythm  is  as  certain  to  be 
developed,  as  prolongation  of  quantity  or  a  full  and  melodious 
voice.  It  becomes  an  unfailing  accompaniment  of  natural  en- 
thusiasm, and  of  that  glow  of  onward  progress  in  the  succes- 
sion of  ideas,  which  was  called  by  the  ancients  the  "  torrent" 


162  GENERAL    HABITS    IN     DELIVERY. 

of  delivery.  Let  a  speaker  abandon  himself  unreservedly  to 
all  the  influences  that  produce  eloquence,  and  he  will  exhibit  a 
striking  rhythm,  as  certainly  as  he  will  display  a  free  and  cap- 
tivating series  of  attitudes  and  gestures. 

CADENCE. 

This  word,  (derived  from  cado,  to  fall,)  means  the  descent  of 
the  voice  which  marks  the  close  of  a  period  or  paragraph.  It  is 
strictly  appropriate  only  when  the  close  is  made  by  an  actual 
fall  of  the  voice  in  pitch.  Yet  many  sentences  and  many  long 
periods  and  paragraphs  do  not  in  fact,  end  on  a  lower  pitch. 
It  may  happen  that  sentences  expressing  questions  and  emo- 
tions of  admiration,  as  well  as  various  forms  of  enthusiasm, 
will  terminate  most  naturally  on  a  high  key.  In  such  cases 
however,  the  voice  is  generally  softened  in  loudness  during  its 
rise  in  pitch ;  and  there  thus  occurs  a  falling  off  in  force,  which 
still  renders  the  word  cadence  not  inappropriate. 

The  word  cadence  is  very  often  used  also  in  another  sense, 
by  writers  on  criticism,  who  apply  the  term  to  the  sort  of  tune 
which  is  produced  either  in  prose  or  poetry,  by  the  rhythm  of 
balanced  phrases.  This  subject  we  have  just  considered  under 
the  head  of  Rhythm  of  Phrases. 

Cadences  are  among  the  most  striking  portions  of  the  tune  of 
a  reader's  or  a  speaker's  voice.  According  as  they  are  harmo- 
nious or  otherwise,  will  the  delivery  produce  in  the  minds  of  the 
hearers,  that  impression  of  repose  and  satisfaction,  which  is  so 
essential  to  agreeable  effect. 

The  elocution  of  uncultivated  speakers,  whose  voices  are  in- 
flexible and  whose  minds  proceed  mechanically  in  delivery,  is 
often  strikingly  faulty  in  their  cadences.  Not  only  do  their 
periods  and  paragraphs  fail  of  exhibiting  the  great  variety  at  the 
end  of  each,  which  is  required  by  the  grammatical  and  rhetorical 
structure,  but  even  the  simplest  and  most  common  forms  of  ca- 


CADENCE.  163 

dence — such  as  all  use  in  ordinary  conversation — are  not  al- 
ways given  in  a  natural  manner.  Sometimes  the  voice  pro- 
ceeds to  the  very  last  syllable  in  an  unvarying  monotony.  In 
other  cases  it  leaves  off,  at  the  close  of  a  sentence,  with  what  is 
called  a  tone.  Others  again,  conclude  with  an  awkward  fall  in 
pitch,  which  produces  the  effect  of  a  false  note  in  music. 

Short  and  simple  sentences,  which  end  with  a  period  and  are 
unconnected  with  others,  form  their  cadences  on  no  more  than 
one  or  two  of  the  last  syllables.  There  are  several  variations 
however,  even  in  these  the  simplest  forms  of  cadence  ;  for  a  de- 
scription of  which,  those  who  are  curious  in  regard  to  such  sub- 
jects, may  refer  to  the  work  of  Dr.  Rush,  or  that  of  Prof.  Day. 
It  is  inconsistent  with  the  plan  of  the  present  treatise,  to  enter 
into  details  so  minute.  Yet  as  some  directions  are  required,  the 
following  are  given  as  having  been  found  most  useful. 

In  the  first  place,  follow  no  rule  whatever,  in  regard 
to  ending  a  short  sentence  with  a  cadence.  Very  fre- 
quently, a  decided  rising  inflection  is  required  at  a  period, 
and  the  sentence  is  to  be  read  as  if  it  were  either  incom- 
plete, or  inseparably  connected  with  what  follows. 

If  rules  are  constructed  for  this  purpose,  (as  may  readily  be 
done,)  they  become  so  intricate  and  various  as  to  be  worse  than 
useless.  The  natural  instincts  of  the  mind  and  voice  will  infal- 
libly direct  a  reader  or  speaker  aright,  precisely  as  in  common 
conversation.  All  that  is  required  is  a  flexible  voice,  and  the 
habit  of  entering  fully  into  the  spirit  of  a  paragraph,  so  as  to  ex- 
hibit the  connexions  and  relations  of  thought. 

Secondly,  when  a  true  and  proper  cadence  is  to  be 
made,  suffer  the  voice  to  follow  its  own  instincts,  and  do 
not  interrupt  the  flow  of  delivery,  by  an  awkward  pause, 
made  merely  in  the  way  of  preparation  for  a  cadence. 

This  is  a  very  common  fault  of  those  who  study  elocution  by 
themselves.  Every  time  their  eye  observes  a  period  in  punctu- 


164  GENERAL    HABITS    IN    DELIVERY. 

ation,  they  are  apt  to  stop  and  deliberately  prepare  themselves 
for  a  downward  drop  of  the  voice.  By  so  doing,  instead  of  se- 
curing their  object  of  executing  cadences  correctly,  they  merely 
substitute  an  artificial  and  labored  awkwardness,  for  the  natural 
yet  less  disagreeable  infelicity  of  some  kind  of  tone. 

Thirdly,  all  cadences  require  some  degree  at  least,  of 
an  easy  and  graceful  deliberation. 

Let  the  mind,  as  it  approaches  towards  the  close  of  a 
sentence  (at  least  of  one  of  any  length)  be  kept  collected 
and  composed.  Let  the  rate  of  utterance  generally  be- 
come a  little  slower.  Then  suffer  the  voice  to  proceed 
steadily,  and  with  the  tones  suggested  by  natural  in- 
stinct. 

In  speaking,  and  sometimes  in  public  reading,  let  the 
eye  look  steadily  and  calmly  at  the  faces  of  the  hearers. 
Then  if  the  mind  is  composed  and  collected,  the  voice 
will  not  fail  of  being  correct. 

The  question  whether  gestures  are  to  be  made  upon  ca- 
dences, depends  on  whether  they  contain  strikingly  emphatic 
words.  If  they  do  not,  it  is  generally  better  to  let  the  arm  drop, 
before  the  close,  and  in  place  of  a  gesture,  to  substitute  a  col- 
lected look,  and  a  sympathizing  inflexion  of  the  body. 

The  above  directions  apply  to  the  ordinary  cadences,  that  are 
of  perpetual  occurrence,  during  the  progress  of  continuous  dis- 
course. It  remains  to  consider  the  management  of  the  voice 
in  what  is  one  of  the  most  striking  parts  of  a  well  constructed 
composition,  viz.  the  winding  up  or  winding  off,  of  the  course 
of  thought  which  runs  through  an  entire  discourse,  or  an  im- 
portant division.  In  these  places,  there  are  but  two  general 
modes  in  which  the  voice  proceeds. 

Most  commonly,  there  should  be  exhibited  at  the  end 
of  a  discourse  or  of  a  long  paragraph,  a  gradual  descent 
in  pitch,  not  only  during  the  utterance  of  several  words, 


CADENCE.  165 

but  of  several  phrases,  or  even  sentences.  The  ear  of 
the  hearer  will  thus  be  warned,  that  the  course  of  thought 
is  coming  to  a  close. 

Occasionally  however,  the  enthusiastic  feeling  prompted  by 
the  composition,  should  cause  the  voice  to  rise  towards  the  end. 
This  rising  progress  of  the  voice  needs  no  cultivation.  It  is  less 
common,  and  less  important;  while  at  the  same  time  it  is  at- 
tended with  no  difficulty  in  execution.  We  need  not  illustrate 
it  even  by  a  single  example. 

The  gradual  descent  of  pitch  which  marks  the  winding  offof 
a  course  of  thought,  requires  for  its  successful  execution,  that 
the  voice  shall  have  been  previously  cultivated.  If  this  has  not 
been  done  by  the  habit  of  actually  dealing  with  audiences,  few 
will  be  found  successful  in  this  part  of  delivery,  unless  after  care- 
ful training.  Uncultivated  voices  fail  in  strength  and  steadiness 
on  the  lower  notes,  and  when  earnestness  is  to  be  expressed, 
generally  rise  in  pitch.  The  effect  is  to  diminish,  or  actually 
destroy,  all  grace,  dignity  and  repose,  in  this  part  of  delivery. 

In  preparing,  then,  for  the  close  of  a  strain  of  thought, 
care  must  be  taken  gradually  to  lower  the  voice  in  pitch, 
and  at  the  same  time  to  increase  the  force  and  energy  of 
utterance. 

Unless  the  voice  be  deliberately  strengthened  as  it 
descends  to  its  lower  notes,  the  delivery  will  fail  not 
only  of  impressiveness,  but  of  grace  and  composure. 
The  lower  notes  will  be  feeble  and  languid,  or  even 
husky  and  inarticulate. 

As  we  have  before  remarked,  all  noisy  loudness  proceeds  from 
the  union  of  loud  force  and  high  pitch  of  voice.  On  the  lower 
notes,  it  is  absolutely  impossible  to  make  a  voice  sound  disa- 
greeably loud.  The  same  exertion  which  produces  loud  tones 
on  high  notes,  makes  the  lowest  ones  simply  musical.  Some 

15 


166  GENERAL     HABITS     IN     DELIVERY. 

who  have  voices  of  a  low  key,  occasionally  shrink  from  the  en- 
ergy of  utterance  which  we  are  directing,  because  it  seems  to 
them  to  make  their  voices  disagreeably  harsh.  Such  are  mis- 
taken as  to  the  actual  quality  of  sound  that  they  exhibit.  What 
appears  like  harshness,  is  merely  the  agreeable  roughness  which 
strong  male  voices  exhibit  on  the  lower  notes  of  the  bass.  The 
quality  is  the  same  as  that  which  is  so  much  admired  in  the 
brass  instrument  of  music  called  the  trombone. 

In  respect  to  that  gradual  winding  off  of  delivery,  which  is 
now  under  consideration,  there  are  still  two  other  points  which 
require  attention. 

First,  the  actual  descent  of  the  voice  is  not  from  one 
word  or  syllable  to  another,  but  by  successively  lower 
keys  of  pitch  at  the  beginning  of  each  phrase. 

•  The  change  of  key  is  at  the  beginning  of  each  phrase.     As 
the  phrase  proceeds,  the  voice  may  rise  again. 

Secondly,  if  the  descent  is  through  several  phrases,  the 
downward  progress  from  one  to  another  will  not  generally 
be  invariable.  One  or  more  phrases  will  begin  on  a 
much  higher  key  than  that  which  immediately  precedes 
or  follows  it. 

The  final  phrase,  however,  will  be  lower  than  any  that  has 
preceded. 

All  this  will  be  made  clear  by  the  mode  of  printing  adopted 
in  the  following  examples,  which  resembles  the  concluding  salu- 
tations and  subscriptions  of  a  formal  epistle.  When  the  suc- 
cessive phrases  begin  on  a  lower  key,  they  are  placed  farther  to 
the  right  on  the  page.  When,  after  a  fall  of  key  on  one  or 
more  preceding  phrases,  the  next  begins  on  a  higher  key,  it 
will  be  brought  back  farther  to  the  left  again.  If  a  phrase  af- 
ter beginning  on  a  lower  key,  rises  as  it  proceeds,  the  rise  will 
be  indicated  by  placing  the  words  on  a  higher  line. 


C  A  D  t  ;  N  C  E  . 


167 


EXAMPLES    FOR   PRACTICE. 


Sir, 


so 


neither  the  human 

nor  the  human  ""^standing  , 
wjU  bear  a  perversion 
monstrous, 

and  absurd>' 
re_  volting 

to  the   soul- 

shocking 


so 


to  reason. 


And  then> 
as  now,\ 

may  the  sun> 

in  his  course, 


more/™' 

more  happy, 

more 


than 


our 


this, 
own,\ 
country. 


WIRT. 


WEBSTER. 


168  GENERAL    HABITS     IN     DELIVERY. 

And  now- 

the  vortex     ||     roars  ;\ 

and   the   struggling  victim 
buffets    the  fiery  wave, 
whh  feebler  stroke, 

i  warning  supplication, 

until  de-  sPair'X 
flashes  uP°n  hi*  soul, 
and  with  an  outcry     ||     that  pierces  the  heavens, 

he  ceases 

to  strive> 
and 

disappears. 

BEECHER. 


CHAPTER  VIII. 

CIRCUMSTANCES. 

THE  present  chapter  will  be  devoted  to  those  general  habits, 
by  which  a  speaker,  or  a  public  reader,  adapts  his  delivery  to  the 
circumstances  of  his  situation  and  audience. 

It  is  singular  that  such  subjects  should  so  often  have  been 
omitted  in  treatises  on  elocution,  inasmuch  as  it  is  obvious  that 


CIRCUMSTANCES.  169 

a  careful  study  of  them  must  be  fundamentally  important  in 
reference  to  public  efforts.  Would  it  not  have  been  more  use- 
ful to  devote  to  such  topics,  the  space  which  so  many  have  occu- 
pied in  recommending  what  audiences  consider  as  disagreeable 
affectations — such  as  artificial  and  awkward  positions  of  the  feet 
— pronouncing  the  adjective  pronoun  my,  like  the  substantive 
pronoun  me — giving  the  Irish  pronunciation  of  the  letter  r — and 
other  peculiarities  which  a  sensible  man  would  dislike  to  display 
in  private  society '? 

It  has  already  been  incidentally  remarked,  that  a  principal 
reason  of  the  imperfect  success  which  has  hitherto  attended  the 
efforts  of  elocutionists  to  teach  a  truly  useful  delivery,  is  the 
habit  of  giving  instruction  in  small  rooms.  It  ought  to  be  still 
further  enjoined,  that  the  careful  practice  of  speaking  in  a  small 
room,  will  in  the  great  majority  of  cases,  produce  habits  abso- 
lutely fatal  to  success  in  large  ones.  When  a  room  at  least  as 
large  as  a  church  capable  of  seating  six  or  eight  hundred  people 
cannot  be  occupied  for  this  purpose,  there  is  no  resource  except 
to  resort  to  the  open  air.  Mere  boys  may  indeed  be  profitably 
taught  in  a  room  sufficiently  large  for  an  ordinary  public  school ; 
but  young  men  who  are  preparing  to  be  clergymen,  debaters,  or 
lecturers,  must  be  accustomed  to  speak  in  rooms  certainly  as 
large  as  those  which  they  will  occupy  in  future  life.  Omitting 
for  the  present  all  consideration  of  the  necessity  of  strength  of 
voice,  of  slowness  combined  with  conversational  inflexion,  and 
of  the  expulsive  accent  required  for  large  audiences,  all  elevated 
delivery,  and  also  all  familiar  reading  or  speaking  that  is  ad- 
dressed to  several  hundreds — not  to  speak  of  thousands — of  per- 
sons, requires  what  is  called  in  the  language  of  art,  BREADTH  op 
STYLE.  Without  the  more  enlarged  outlines  (so  to  speak) 
which  give  what  artists  describe  by  this  term  in  painting  and 
sculpture,  delivery  before  large  audiences  must  necessarily  ap- 
pear petty  and  meagre,  and  can  have  neither  dignity  nor  inter* 
15* 


170  GENERAL    HABITS     IN     DELIVERY. 

est.  In  vocal  music,  the  same  principle  is  thoroughly  under- 
stood and  exemplified  by  all  great  public  performers;  while  it  is 
the  want  of  such  knowledge  that  causes  amateur  singers  gener- 
ally to  fail  of  success  when  they  appear  in  public  concerts. 
Perhaps  it  is  the  same  reason,  which  has  prevented  several  suc- 
cessful elocutionists  from  becoming  acceptable  actors.  Without 
breadth  of  manner,  no  performance  in  any  art  will  be  approved 
of  by  the  great  mass  of  mankind.  It  seems  to  be  superiority 
in  this  respect  which  causes  men  destitute  of  a  liberal  educa- 
tion, so  often  to  succeed  better  as  speakers,  than  those  who 
have  prepared  themselves  in  the  seclusion  of  a  learned  retreat. 
Their  broader  and  heartier  manner,  more  than  compensates  for 
their  frequently  inferior  refinement  and  correctness  in  regard  to 
minor  details.  Hitherto  indeed,  a  considerable  portion  of  most 
treatises  on  delivery,  has  been  occupied  with  subjects  of  no  more 
fundamental  importance  in  reference  to  making  a  useful  im- 
pression on  an  audience,  than  in  a  treatise  on  politeness,  would 
be  the  question  whether  a  man  should  take  off  his  hat,  in  saluta- 
tion, with  his  right  or  his  left  hand.  In  most  cases  indeed,  the 
right  hand  will  be  more  convenient,  but  the  essential  requisites 
of  a  polite  salutation  depend  not  at  all  on  which  is  used. 

ADAPTATION    OF    DELIVERY    TO    SIZE    OF    AUDIENCE. 

It  is  an  obvious  dictate  of  common  sense,  that  speakers  should 
wish  their  audiences  to  hear  them.  They  are  apt,  however,  to 
forget  that  it  is  a  duty  incumbent  on  themselves,  to  take  pains 
that  all  may  do  so.  As  the  countenances  of  those  only  who 
are  nearer  to  them,  attract  attention  and  assist  by  their  sympa- 
thy, the  more  distant  hearers  are  often  neglected.  In  the  case 
of  very  large  audiences,  a  speaker  cannot  determine  by  sight, 
whether  those  most  distant  are  able  easily  to  follow  him.  His 
ear  however,  should  be  an  infallible  guide  in  determining  this 
point,  and  nature  provides  him  the  means  for  deciding  it. 


SIZE     OF    AUDIENCE.  171 

By  reflecting  a  little,  we  can  recall  to  mind  the  fact,  that  when 
we  address  a  person  at  a  considerable  distance,  (suppose  for  in- 
stance in  asking  a  question,)  we  not  only  speak  louder,  but  raise 
the  pitch  of  the  voice.  If  the  distance  is  extreme,  we  use  the 
highest  pilch  of  which  the  voice  is  capable.  The  sound  is 
shrill,  and  the  more  shrill  it  is,  the  farther  is  it  heard. 

Hence  the  appropriate  key  for  large  audiences  is  gov- 
erned, in  the  first  place  and  principally,  by  the  distance  of 
the  most  remote  portion. 

But  sound  travels  rather  slowly  through  the  air.  It  requires 
an  appreciable  period  of  time,  for  a  syllable  to  reach  the  ex- 
tremity of  the  largest  audiences.  Greater  force,  must  therefore 
be  given  to  the  impulse,  or  the  sound-waves  of  the  air  will  die 
away  before  reaching  the  required  distance.  Now  the  greater 
the  force,  the  more  fatiguing  the  exertion,  and  consequently  the 
slower  the  repetition  of  the  effort.  Hence  the  more  distant  the 
auditor,  the  slower  is  the  utterance. 

In  hallooing  to  a  person  at  the  distance  of  a  quarter  of  a  mile 
or  more,  the  utterance  becomes  a  slow  and  prolonged  cry.  It 
may  seem  surprising  that  we  speak  of  making  ourselves  intelli- 
gible for  more  than  a  quarter  of  a  mile,  but  the  strongest  voices 
may  be  distinctly  understood  for  more  than  half  a.  mile.  Irving, 
in  his  Astoria,  mentions  that  this  fact  has  been  observed  among 
our  western  Indians. 

In  addressing  the  largest  audiences,  then,  each  syllable 
is  prolonged,  and  their  succession  is  slow. 

A  speech  that  requires  an  hour  for  delivery  in  the  open  air, 
may  be  deliberately  read  aloud  to  a  parlor  audience  in  fifteen 
minutes.  Sermons  that  require  half  an  hour  for  delivery  from 
the  pulpit,  may  be  read  to  a  family  in  half  that  time. 

A  natural  delivery  will  therefore  require,  both  a  higher 
key  and  a  slower  utterance,  in  proportion  to  the  size  of 
the  audience. 


172  GENERAL    HABITS    IN    DELIVERY. 

An  unnaturally  low  key  as  the  prevailing  pitch,  may  indeed 
be  made  audible  over  a  large  space,  by  increased  exertion,  or  by 
a  monotonous  drawl,  but  the  effect  will  be  as  disagreeable  as  the 
effort  is  strained  and  unnatural. 

There  is  an  apparent  exception  to  this  statement,  in  that  de- 
livery which  is  characterized  by  great  depth  of  emotion  and  im- 
pressiveness  of  manner.  In  such  cases,  however,  it  is  the  great 
energy  and  extreme  slowness  of  the  utterance,  that  compensate 
for  the  absence  of  a  high  pitch ;  these  are  never  exhibited  ex- 
cept when  the  speaker  is  deeply  interested,  and  makes  a  strongly 
impassioned  appeal.  If  his  delivery  is  simply  didactic  or  famil- 
iar, his  voice  naturally  rises. 

The  question  however  will  occur,  how  is  it  that  some  men 
speak  with  great  rapidity,  and  yet  succeed  in  making  themselves 
intelligible  to  large  audiences?  This  is  effected  principally  by 
means  of  that  familiar  energy  which  owes  its  liveliness  and  spirit 
to  a  very  strong  accent.  Accent  in  such  cases,  is  given  by  radi- 
cal stress  upon  all,  and  especially  upon  the  principal  syllables. 
This  sudden  and  expulsive  effort  of  the  vocal  organs  gives  an 
impulse  to  the  sound-waves  of  the  air,  which  makes  them  move 
more  rapidly,  and  causes  the  sounds  to  reach  the  required  dis- 
tance in  less  time.  We  shall  find  however,  that  even  such 
speakers  do  not  utter  as  many  words  in  the  same  period  of 
time,  when  addressing  large  assemblies,  as  when  speaking  to 
smaller  ones.  Their  delivery,  being  characterized  by  more  of  the 
tone  of  conversation,  is  in  fact  less  rapid  than  it  appears  to  be. 

The  rule,  then,  for  adapting  the  voice  to  the  size  of 
an  audience,  is  to  trust  confidently  to  the  natural  instinct 
which  enables  a  person  to  adapt  his  voice  to  different 
distances  in  conversation. 

If  an  unpractised  speaker  fails  at  any  time  of  being  heard, 
let  him  take  more  pains  in  his  next  effort,  and  afterwards  in- 
quire of  a  friend  how  he  has  succeeded.  After  one  or  two 


ECHO     OF    ROOMS.  173 

such  inquiries,  it  will  need  but  little  experience  to  enable  him 
to  place  full  confidence  in  his  own  judgment. 

Attitude  and  Gesture  should  also  be  adapted  to  the 
size  of  the  audience.  The  rules  for  this  are  simple. 
The  farther  off  the  more  distant  part  of  the  hearers,  the 
more  erect  will  be  the  speaker's  natural  attitude,  in  or- 
der that  the  countenance  and  eye  may  easily  address 
them.  The  higher  also  will  the  arm  be  raised,  that  the 
palm  of  the  hand  may  appeal  to  them  in  gesture.  When 
the  audience  is  small  and  very  near  the  speaker,  his  bo- 
dy, in  earnest  address,  bends  forward  at  the  hips,  that  he 
may  look  them  full  in  the  face,  while  for  a  similar  rea- 
son, the  arm  in  gesture  is  somewhat  lowered.  See  p.  41. 

ADAPTATION  TO  ECHO  OF  ROOMS. 

It  is  universally  known  that  some  rooms  are  more  favorable 
than  others  for  both  speaker  and  hearer. 

Any  room,  however,  is  better  than  the  open  air.  The  walls 
and  ceiling  even  of  the  worst,  assist  the  speaker  by  rendering 
his  voice  more  musical,  and  therefore  more  expressive  in  its 
tone.  They  produce  an  effect  similar  to  that  of  the  sounding 
board  of  a  piano,  not  only  in  this  respect,  but  also  in  causing 
less  strength  to  be  required  for  mere  audibility.  Even  music 
will  sound  tame  and  spiritless  in  the  open  air,  unless  the  instru- 
ments are  of  great  power  and  played  with  energy.  This  is  one 
of  the  principal  reasons  why  military  bands  at  the  present  day 
make  almost  exclusive  use  of  brass  instruments. 

A  well  constructed  room  assists  the  voice  by  its  reverberation, 
and  an  artist  in  delivery  may  be  considered  as  one  who  makes 
joint  use  of  two  instruments  for  operating  on  his  audience,  viz. 
his  voice  and  an  echoing  room.  Such  a  room  gives  a  reverbe- 
ration strong  and  distinct,  but  not  so  rapid  as  to  make  one  echo 
mingle  with  another,  and  thus  produce  a  confusion  of  sounds. 


174  GENERAL    HABITS     IN    DELIVERY. 

Rooms  which  are  difficult  or  disagreeable  to  speak  in,  are  of 
two  kinds. 

1st.  The  reverberation  may  be  too  feeble.  In  this  case  the 
voice  sounds  more  or  less  as  in  the  open  air.  It  seems  dead 
and  inexpressive,  and  the  speaker  is  apt  instinctively  to  exert 
himself  more  than  is  necessary,  even  when  he  is  only  aiming 
to  be  distinctly  and  easily  heard.  Clergymen  for  this  reason 
complain  of  such  rooms,  that  they  are  hard  and  fatiguing  to 
speak  in,  and  say  they  find  it  difficult  to  fill  them.  If  the  room 
be  small,  this  complaint  proceeds  from  a  mistake  made  by  the 
speaker's  ear — he  being  accustomed  to  hear  a  reverberation, 
by  which  he  is  guided  in  judging  whether  his  voice  is  audible. 
But  if  large,  he  is  really  required  to  fatigue  himself  by  great 
exertions,  to  attain  his  object. 

In  such  a  case,  if  the  speaker  wishes  his  voice  to  sound  ex~ 
pressive  and  interesting,  it  is  absolutely  necessary  that  he  use 
far  greater  stress  of  voice  and  enunciation,  than  in  a  room  of 
the  same  size,  which  has  a  stronger  reverberation.  He  must 
be  guided  by  the  actual  sound  of  his  voice  in  the  room,  and  if 
speaking  in  one  very  unfavorable,  sometimes  needs  to  make  ex- 
hausting efforts  to  produce  a  satisfactory  effect. 

On  the  other  hand,  the  echo  in  some  rooms  is  rapid  and  mul- 
tiplying. Being  several  times  repeated,  great  confusion  of 
sounds  results.  Not  only  are  there  several  reverberations  of  a 
single  syllable,  or  of  a  note  in  music,  but  each  is  so  quick,  that 
one  does  not  die  away  before  the  next  syllable  or  note  succeeds, 
causing  both  sounds  to  be  mingled  together.  Such  rooms 
make  a  speaker  appear  to  have  a  very  indistinct  articulation, 
and  when  so  situated,  he  must  proceed  with  a  careful  slowness, 
and  a  studied  regularity  of  rhythm.  By  adapting  his  voice  ac- 
curately in  these  respects,  his  articulation  will  sound  distinct 
and  clear,  instead  of  confused  and  obscure.  He  must  also 
guard  against  being  too  loud.  Too  great  strength  of  voice  will 
produce  a  reverberation  too  powerful. 


ECHO    OF    ROOMS.  175 

Tt  is  by  means  of  the  echo,  that  a  practised  speaker  knows 
when  his  voice  tills  the  room.  Many  persons,  who  think  they 
have  been  speaking  with  great  loudness,  are  surprised  when 
told  that  they  were  not  readily  heard.  This  mistake  proceeds 
from  their  attention  having  been  occupied  by  the  physical  ex- 
ertion they  were  making  in  the  throat,  instead  of  listening  to 
the  sound  of  their  voices  in  the  room,  and  the  consequent  re- 
verberation. This  habit  of  doing  nothing  more  than  watch 
one's  own  internal  efforts,  is  fatal  to  success,  and  indeed  to  mere 
ease  of  speaking. 

In  strong  delivery  there  is,  likewise,  a  ringing  or  crash  of 
the  speaker's  voice  about  his  own  ears,  which  in  fact  proceeds 
from  a  vibration  of  the  bones  in  his  head,  and  which  is  rather 
disagreeable  if  he  suffers  his  attention  to  be  occupied  with  it. 
This  also  causes  some  to  mistake  as  to  the  degree  of  loudness 
which  they  actually  employ.  Let  the  speaker  turn  his  atten- 
tion wholly  away  from  such  bodily  sensations,  and  listen,  as  it 
were,  to  his  voice  after  it  has  issued  from  him,  observing  how 
it  sounds  in  the  distance.  By  attending  to  this  point,  he  will 
soon  learn  to  judge  how  it  actually  sounds  to  others,  and  espe- 
cially to  those  at  some  distance  from  him.  If  he  adapts  his 
voice  well  to  a  room  that  is  large  yet  favorable,  it  is  pleasanter 
for  an  auditor  to  be  at  some  distance  from  him ;  and  the  com- 
mon habit  of  preferring  the  nearest  seats,  is  owing  to  the  pre- 
vailing carelessness  of  speakers  in  regulating  their  voices. 

Young  men  when  practising  elocution,  often  complain  of  the 
disagreeable  sound  of  their  voices  in  an  empty  room.  Perhaps 
some  of  their  companions  may  be  present,  and  declare  their 
speaking  not  to  be  loud  enough,  while  on  the  other  hand,  they 
either  assert  that  their  voices  sound  too  loud  to  themselves,  or 
complain  of  the  echo.  The  above  considerations  explain  both 
these  mistakes.  When  the  voice  is  accurately  adapted  to  a 
room,  there  will  be  no  confusion  of  echo,  even  if  the  loudness 
is  absurdly  great.  The  presence  or  absence  of  an  audience, 


176  GENERAL    HABITS     IN     DELIVERY. 

makes  no  difference  in  this  respect.  The  only  difference  re- 
sulting from  the  presence  of  numerous  auditors,  is  that  the  re- 
verberation is  less  strong,  and  that  generally  there  is  more  or 
less  of  a  rustling  noise  from  an  assembly — both  which  circum- 
stances deaden  the  sound  of  the  speaker's  voice,  and  make  the 
reverberation  less  perceptible.  The  greatest  difficulty  that 
speakers  have  to  encounter  from  an  audience,  results  from  the 
carelessness  of  those  who  enter  the  room  with  a  loud  tread. 

The  strength  of  even  the  weakest  human  voices,  is  greater 
than  seems  to  be  generally  known.  It  was  necessary  for  a 
Greek  actor  to  be  able  to  make  himself  distinctly  audible  to  thir- 
ty thousand  people,  and  that  too  in  a  theatre  without  a  roof. 
We  have  never  met  with  a  voice,  where  there  has  been  no  dis- 
ease of  the  throat  or  lungs,  which  was  not  capable,  after  a  little 
cultivation,  of  filling  the  largest  audience  rooms,  and  that  too 
without  a  disagreeable  effort. 

ADAPTATION    TO    RESTLESS    AUDIENCES, 

The  most  common  difficulty  in  this  respect,  proceeds  from 
the  entrance  of  a  number  of  persons  after  the  speaker  has  com- 
menced his  address.  The  only  remedy  is  to  employ  such  a  de- 
gree of  deliberate  force  and  distinctness,  as  shall  reach  to  the 
very  extremity  of  the  room,  and  immediately  attract  the  atten- 
tion of  those  who  are  just  entering. 

When  an  audience  is  noisy  from  restlessness  or  inattention, 
the  chief  means  for  stilling  it  will  be,  to  alternate  passages  of 
force,  power  and  energy  of  delivery,  with  those  of  low,  distinct 
and  impressive  tones.  In  such  a  situation,  the  most  important 
quality  for  a  speaker  is  steadiness  and  deliberate  self-possession. 
If  he  exhibits  a  sort  of  nervous  excitement,  the  audience  will 
grow  more  noisy  from  sympathy.  A  marked  and  pointed  style 
of  address,  likewise,  and  especially  a  striking  emphasis,  are  of- 
ten necessary.  At  the  same  time,  a  forcible  and  very  distinct 
articulation  should  be  invariably  used  in  such  circumstances. 


SELF    POSSESSION.  177 

A  speaker  ought  always  to  consider  his  delivery  in  fault,  if 
his  audience  are  not  still  and  attentive,  no  matter  how  uninter- 
esting to  them  may  be  his  ideas  or  language. 

The  nervous  systems  both  of  men  and  brute  animals,  are 
constructed  with  an  express  adaptation  to  the  influences  of  the 
human  voice.  The  striking  force  and  earnestness  which  we 
instinctively  employ  to  command  animals,  children  and  servants, 
and  which  in  a  less  degree  we  use  in  conversation,  when  we 
are  determined  to  be  attended  to,  are  familiar  instances. 
Skillful  speakers  feel  conscious  of  the  same  power  over  audien- 
ces, whatever  style  of  address  be  most  appropriate  for  the  sub- 
ject and  occasion. 


CHAPTER  IX. 

SELF    MANAGEMENT. 

THE  subjects  to  be  considered  in  the  present  chapter,  must 
be  ranked  among  the  General  Habits  of  Delivery,  yet  cannot 
conveniently  be  classed  with  any  of  the  previous  topics.  With 
a  partial  exception  in  reference  to  the  Melody  of  Speech,  they 
depend  not  so  much  on  natural  and  uncultivated  instincts  of 
utterance,  as  on  that  self  consciousness  and  power  of  intention- 
ally regulating  and  directing  our  natural  impulses,  which  is  the 
most  distinguishing  characteristic  of  cultivated  and  disciplined 
minds.  The  topics  of  the  chapter  are — self  control  and  stead- 
iness in  speaking ;  the  manner  of  beginning  an  address ;  the 
manner  of  concluding ;  and  what  is  called  by  Dr.  Rush,  the 
melody  of  speech. 

SELF    POSSESSION. 

Self  control  in  speaking  ought  not  to  be  considered  as  exclu- 
sively dependent  on  natural  organization  and  turn  of  charac- 

16 


178  GENERAL    HABITS    IN    DELIVERY. 

ter.  Those  who  are  constitutionally  bold  on  ordinary  occasions, 
are  often  most  liable  to  embarrassment  and  confusion  in  public 
speaking;  while  retiring  and  diffident,  but  thoughtful  minds, 
are  more  frequently  prompted  to  enthusiasm  by  the  presence  of 
an  audience.  The  self  possession  of  a  speaker  is,  in  fact,  pro- 
portioned to  the  inward  activity  of  his  mind.  Those  who  are 
habitually  the  sport  of  external  impulses,  have  nothing  to  steady 
them  when  these  are  new  and  embarrassing ;  but  the  more  re- 
flecting and  meditative,  become  outwardly  calm  by  means  of  in- 
tense mental  activity  within. 

Though  practical  delivery  requires  a  sympathy  with  the  audi- 
ence, yet  this  is  but  a  secondary  rather  than  a  primary  object 
of  attention.  Even  merely  ad  captandum  speaking  is  no  ex- 
ception. True  enthusiasm  either  of  thought  or  imagination, 
is  self  excited  and  self  encouraged.  Without  such  indepen- 
dence of  external  impulses,  there  cannot  indeed  be  any  de- 
livery that  shall  be  either  worthy  of  applause,  or  of  sufficient 
interest  even  to  excite  disapprobation.  Though  actors  are  sup- 
posed (probably  falsely)  to  be  more  dependent  on  approbation 
than  speakers,  yet  even  their  principal  reliance  is  on  genial  im- 
pulses and  inward  consciousness  of  power. 

But  the  very  practice  of  speaking  cultivates  habits  of  self 
possession.  Improvement  in  this  requisite,  keeps  pace  uni- 
formly with  progress  in  all  the  other  qualities  of  a  good  delivery. 
Not  only  the  mental  but  the  bodily  habits  acquired,  contribute 
to  this  desirable  result. 

No  separate  lessons  or  rules  are  needed,  for  attaining 
self  possession,  farther  than  the  general  direction  to  prac- 
tise intense  thought,  and  give  free  play  to  the  imagina- 
tion and  feelings. 

If  the  constitutionally  nervous  still  wish  for  further 
directions,  let  them,  when  in  danger  of  becoming  con- 
fused, always  resort  to  deliberate  force  and  energy. 


MODE     OF    BEGINNING.  179 

Though  direct  acts  of  self  command  may  not  be  in 
their  power,  yet  they  will  experience  no  difficulty  in 
making  strong  and  energetic  efforts,  a  short  perseverance 
in  which  will  soon  bring  their  faculties  under  their  own 
control. 

When  lawyers  are  hindered  by  embarrassing  interruptions, 
they  commonly  resort  to  loud  tones  or  strong  declamation. 
From  the  instinctive  effort  which  they  thus  make  to  free  them- 
selves from  embarrassment,  and  facilitate  their  onward  progress, 
we  may  derive  a  useful  hint  for  students  of  elocution. 

At  the  close  of  the  volume,  additional  suggestions  will  be  of- 
fered, under  the  head  of  Extemporaneous  Speaking. 

MANNER   OF    BEGINNING   AN  ADDRESS. 

This  part  of  delivery  often  occasions  needless  apprehensions. 
Practical  extemporaneous  speakers  also,  when  beginning  to 
speak,  sometimes  exhibit  either  an  apparently  affected  slowness 
and  hesitancy,  or  an  obscure  mumbling,  which  seems  equally 
unnecessary.  Many  of  them  indulge  themselves,  when  first 
commencing,  in  awkward  and  lounging  attitudes,  and  various 
little  acts  which  serve  the  purpose  of  occupying  time  until  their 
voices  have  grown  clear  and  their  articulation  firm. 

There  is  no  actual  necessity,  however,  for  exhibiting  impro- 
prieties of  delivery  at  the  beginning,  more  than  during  any  sub- 
sequent part  of  a  discourse.  The  very  first  word  that  is  spo- 
ken, ought  to  be  accurately  adapted  to  the  room,  in  reference 
to  the  necessary  degree  of  audibility,  distinct  articulation,  and 
an  appropriate  style  of  address. 

It  is  a  mistake  to  suppose,  that  the  commencement  of  an  ad- 
dress must  in  all  cases  be  with  a  subdued  loudness.  Though 
this  is  generally  required,  yet  if  the  sentiments  and  language 
in  the  first  part  of  the  address  be  bold  and  abrupt,  the  delivery 
ought  to  correspond.  It  is  also  a  very  prevalent  fault,  even 


180  GENERAL    HABITS    IN    DELIVERY. 

among  able  speakers,  to  waste  unnecessary  time  in  exordiums, 
which  are  made  more  for  their  own  gratification,  than  that  of 
the  hearers. 

As  however  in  most  cases  the  tone  with  which  a  good  speak- 
er begins,  should  be  different  for  a  short  time,  some  directions 
may  be  useful  in  reference  to  acquiring  suitable  habits. 

All  that  is  really  necessary  for  this  purpose,  is  to  cul- 
tivate the  habit  of  withdrawing  the  mind  in  some  de- 
gree from  the  audience,  when  beginning  to  speak,  and 
concentrating  it  on  the  train  of  thought  that  the  speak- 
er intends  to  follow. 

This  act  puts  the  mind  more  or  less  into  a  musing 
state — a  state  which  produces  a  tone  of  thoughtfulness. 
The  tone  thus  will  be  less  loud  and  exciting  than  that 
which  will  soon  follow. 

As  the  mind  is  occupied  (at  least  in  part)  with  the 
train  of  thought,  rather  than  merely  with  the  few  first 
words  of  the  address,  the  voice  exhibits  a  tone  of  prepa- 
ration, which  is  in  fact  the  only  essential  requisite  for 
this  part  of  delivery. 

It  is  not  difficult  to  analyze  this  preparatory  tone,  and  show 
what  modifications  of  voice  unite  to  produce  it.  It  will  how- 
ever be  more  useful  for  the  student,  to  secure  the  habit  of  ex- 
hibiting it,  by  practising  the  mental  acts  from  which  it  proceeds, 
than  to  endeavor  to  master  such  subtle  distinctions,  by  efforts 
that  are  merely  vocal. 

Still  farther,  while  actually  uttering  the  first  two  or 
three  words,  the  mind  of  the  speaker  should  be  as  it 
were  scarcely  conscious  of  them,  but  on  the  contrary, 
should  look  forward  to  words  of  more  force  and  empha- 
sis, which  are  soon  to  succeed. 


MODE     OF     CONCLUDING.  181 

Such  more  important  words  may  occur  very  soon,  or  not  till 
after  several  phrases  or  even  sentences. 

For  unpractised  speakers,  the  more  abrupt  the  commence- 
ment, and  the  sooner  an  emphatic  word  occurs,  the  easier,  in 
the  first  part  of  a  discourse,  is  the  speaking. 

Though  by  following  the  above  directions,  the  speaker  will 
exhibit  an  appropriate  moderation,  thoughtfulness  and  tone  of 
preparation,  yet  care  must  be  taken  that  the  voice  be  not  ab- 
stract and  inexpressive. 

The  tone  of  address  should  be  decidedly  manifest, 
while  the  delivery,  as  just  stated,  must  be  accurately 
adapted  to  the  size  of  the  audience. 

At  the  commencement  of  an  address,  it  is  improper  to  ex- 
tend the  arm  in  gesture  at  the  moment  of  uttering  the  very  first 
words.  Yet  if  this  be  done,  it  is  rather  a  violation  of  English 
and  American  custom,  than  a  fault  in  natural  action.  A  more 
appropriate  habit,  however,  for  students  of  elocution,  is  to  sub- 
stitute graceful  inflexions  of  the  body  in  place  of  gestures  with 
the  hand. 

One  more  caution.  Let  the  student  be  careful  not  to  begin 
in  a  hurried  manner.  If  a  bow  precedes,  let  it  be,  as  already 
directed,  deliberate,  and  not  succeeded  by  the  voice  until  after 
a  slight  pause.  As  extreme  nervousness  is  apt  to  produce  a 
confused  haste,  such  as  are  subject  to  it  will  do  well  to  endeav- 
or to  occupy  as  much  time  as  possible,  while  speaking  the  in- 
troductory portion  of  a  discourse. 

MANNER    OF    CONCLUDING    AN    ADDRESS. 

This  subject  has  been  in  part  anticipated  by  our  remarks  and 
examples  under  the  head  of  cadence. 

To  be  able  to  wind  off  gradually  and  with  grace  or  impres- 
siveness,  requires  that  the  voice  shall  have  been  practised  in  de- 
scending with  steady  firmness  from  its  middle  to  its  lowest  notes, 

16* 


18*2  GENERAL     HABITS     IN     DELIVERY. 

and  that  habits  of  self  control  and  collectedness  of  mind  in 
speaking,  shall  have  become  thoroughly  established. 

As  there  is  a  tone  of  preparation  for  subsequent  force 
and  power,  which  characterizes  an  appropriate  mode  of 
beginning,  so  there  is  a  marked  modification  of  manner 
which  warns  the  hearers  that  the  speaker  is  drawing  to 
a  close. 

The  mental  act  from  which  it  results,  is  that  of  look- 
ing forwards,  and  accurately  calculating  one's  approxi- 
mation to  the  actual  close,  while  at  the  same  time  there 
is  a  sense  of  the  propriety  of  giving  a  corresponding 
warning  to  the  hearers. 

It  is  not  advisable  to  enter  into  a  complete  and  scientific  anal- 
ysis of  all  the  modifications  of  the  voice  which  result.  The 
most  important  to  be  known  are  the  following. 

The  rate  of  utterance  is  more  slow.  The  syllables 
are  more  prolonged.  The  voice  descends  by  successive 
stages  from  phrase  to  phrase.  The  phrases  also  become 
shorter,  and  are  separated  by  longer  pauses. 

Though  just  before  the  end,  there  generally  oc- 
curs a  phrase  on  which  the  voice  must  suddenly  rise 
again,  yet  the  rise  will  not  be  so  high  as  it  would  be  if  a 
new  paragraph  were  to  be  introduced.  After  such  a  rise, 
the  final  sentence  or  phrase  is  very  low — lower  than  that 
which  immediately  preceded  the  higher  phrase. 

The  delivery  is  generally  less  pointed  and  explanatory, 
and  inclines  more  to  the  meditative  mood.  As  the  voice 
descends  lower  and  lower  in  pitch,  its  tone  must  be 
made  firm  and  strong,  or  the  delivery  will  become  faint 
and  inefficient. 

The  worst  fault  that  can  be  exhibited  in  concluding  an  ad- 
dress, is  that  of  suffering  the  voice,  after  the  tone  of  winding 


DIATONIC    MELODY.  183 

off  has  been  entered  upon,  to  rise  too  high  in  pitch,  and  at  the 
same  time  proceed  in  that  more  lively  and  familiar  manner, 
which  causes  the  hearers  to  suppose  that  the  speaker  is  not  in 
fact  near  the  close,  but  is  proceeding  to  add  still  further  re- 
marks. This  disappointment  is  extremely  disagreeable,  and  if, 
as  is  sometimes  done,  the  fault  is  repeated  two  or  three  times, 
the  hearers  may  lose  patience,  and  cease  to  give  further  atten- 
tion. In  very  many  instances,  when  a  discourse  is  complained 
of  for  being  too  long,  the  complaint  originates,  not  in  the  actu- 
al length,  but  in  this  repeated  expectation  of  a  close,  and  sub- 
sequent disappointment. 

THE    DIATONIC    MELODY   OP    SPEECH. 

This  was  first  described  by  Dr.  Rush,  to  whose  work,  or  to 
the  briefer  treatise  of  Prof.  Day,  we  must  refer  for  a  full  and  sci- 
entific account  of  it.  With  respect  however,  to  the  examples 
given  in  the  latter  work,  in  illustration  of  different  varieties  of 
melody,  those  who  consult  it  must  bear  in  mind,  that  its  author 
has  intentionally  avoided  deciding  positively,  as  to  the  strict  ap- 
propriateness of  one  melody  rather  than  another,  for  various 
passages  in  respect  to  which  there  may  exist  differences  of  taste. 

A  general  description  of  the  diatonic  melody  may  be 
given  as  follows.  Take  any  one  phrase,  clause  or  sen- 
tence, in  which  there  occurs  no  sudden  change  of  the 
course  of  thought  or  expression,  and  the  voice  either 
continues  on  the  same  line  of  pitch,  or  rises  and  falls 
gradually  and  by  very  small  distances  between  succes- 
sive syllables. 

A  sudden  and  wide  transition  of  pitch  is  made  only 
when  it  is  necessary  to  give  a  marked  and  distinctive 
emphasis,  or  a  sudden  change  of  expression. 


184  GENERAL     HABITS     IN     DELIVERY. 

If  a  course  of  thought  flows  evenly  along,  with  fullness  of  lan- 
guage, and  in  a  style  destitute  of  striking  and  pointedly  emphatic 
words,  an  agreeable  delivery  will  run  in  the  diatonic  melody. 
In  such  a  case,  to  make  wide  changes  of  pitch  on  words  which 
require  no  emphatic  inflexion,  will  have  the  effect  of  introducing 
an  emphasis  or  a  change  of  expression  where  none  is  wanted. 

Hence  no  direction  is  required  for  enabling  a  reader  or 
speaker  to  exhibit  this  natural  quality  of  speech,  farther  than 
never  to  make  a  sudden  change  of  pitch  on  a  word,  unless  for 
some  definite  reason  in  reference  to  emphasis  or  expression  on 
that  particular  word.  As  this  melody  is  one  of  the  natural  habits 
of  the  voice,  it  ought  to  be  exhibited  independently  of  study  and 
practice  particularly  directed  to  its  acquisition. 

Yet  its  description  has  justly  been  considered  one  of  the  most 
valuable  of  the  contributions  made  by  Dr.  Rush  to  elocution. 
Before  the  publication  of  his  work,  it  was  very  common  to  ob- 
serve that  those  who  took  especial  pains  to  read  with  an  agree- 
able animation,  were  in  the  habit  of  arbitrarily  skipping  up  and 
down  in  pitch,  without  reference  to  appropriate  emphasis,  and 
thus  not  only  injuring  materially  the  grace  and  dignity  of  their 
reading,  but  obscuring  the  sense  and  natural  expression  of  the 
language. 

Some  writers  seem  to  suppose  that  this  plain  melody  is  not 
heard  in  lively  and  familiar  conversation.  We  think  their  opin- 
ion unfounded.  The  error  results  from  not  distinguishing  the 
unemphatic  from  the  emphatic  portions  of  sentences  uttered  in 
such  conversation.  The  more  frequent  and  striking  the  em- 
phatic changes  of  pitch,  the  more  indeed  is  the  plain  diatonic 
melody  broken  in  upon,  yet  still  all  but  a  few  of  the  syllables 
proceed  as  above  described.  There  is  indeed,  a  certain  vul- 
gar liveliness  of  manner  sometimes  heard  in  conversation,  which 
constitutes  a  true  exception  to  the  general  fact  which  we  assert. 
This  is  not  however  exhibited  by  those  who  converse  in  an 
agreeable  style. 


DIATONIC     MELODY.  185 

An  instance  occasionally,  though  rarely  occurs,  in  which  it  is 
the  natural  tendency  of  a  person's  voice  to  proceed  in  a  melody 
of  wider  intervals,  and  thus  have  a  tone  of  banter  or  mockery, 
even  on  the  most  serious  occasions.  A  speaker  who  is  so  un- 
fortunate as  to  have  a  voice  of  this  sort,  is  liable  to  appear 
strangely  undignified  and  incapable  of  serious  earnestness. 
The  tone  of  the  Irish  peasantry,  which  seems  to  us  in  this  coun- 
try so  unnatural,  and  to  have  an  expression  of  so  much  confus- 
edriess  of  feeling,  is  owing  to  the  fact  that  it  runs  in  a  melody  of 
thirds  instead  of  seconds,  and  exhibits  the  vanishing  instead  of 
the  radical  stress.  We  have  no  provincial  tones  in  the  United 
States  as  strongly  marked  as  those  of  Great  Britain  and  Ireland, 
in  which  countries  they  are  often  characterized  by  oddity  of 
melody. 

Those  who  wish  to  study  the  voice  in  a  strictly  scientific  man- 
ner, must  acquire  a  knowledge  of  music  sufficient  to  enable 
them  to  investigate  the  diatonic  melody  in  its  theory  and  accu- 
rate analysis.  For  the  purposes  of  the  present  treatise,  it  will 
be  most  useful,  simply  to  mention  that  a  liability  to  violate  its 
principles  in  practical  reading  and  speaking,  will  certainly  be 
prevented  by  the  course  of  lessons  which  we  have  prescribed. 

When  the  speaker  has  been  sufficiently  accustomed 
to  hearty  and  sincere  efforts  in  the  open  air,  and  in  large 
rooms,  his  voice  habitually  proceeds  in  this  melody,  in 
precisely  the  same  degree  as  it  becomes  capable  of  ex- 
pulsive energy,  slowness,  prolongation,  a  grave,  full  tone, 
and  a  bold  and  commanding  emphasis  and  expression. 

By  the  same  practice  also,  the  odd  voices  which  we  have  just 
described,  lose  their  unfortunate  peculiarity,  and  become  digni- 
fied and  graceful. 

Before  dismissing  this  subject,  it  should  be  stated  that  there 
are  two  important  exceptions  to  the  universality  of  the  diatonic 
melody  in  natural  speech.  First,  interrogative  and  conditional 


186  GENERAL     HABITS    IN     DELIVERY. 

sentences,  as  will  be  explained  in  part  second  of  this  treatise, 
run  in  a  melody  of  thirds  or  fifths.  Secondly,  the  tones  of 
irony,  sarcasm,  sneering,  mockery,  and  other  such  expressions, 
are  always  in  a  melody  strongly  marked  by  wide  intervals.  In 
this  we  see  the  explanation  of  the  peculiar  impression  made  by 
the  above  mentioned  odd  voices.  Let  the  student  try  the  utter- 
ing of  sentences  with  either  of  these  expressions,  and  he  will  be 
able  to  distinguish  that  his  voice  skips  by  wide  intervals  up  and 
down  in  pitch,  and  proceeds,  as  it  were  in  waving,  curling  and 
twisting  tones.  The  general  run  indeed,  (to  use  technical  lan- 
guage,) is  in  waves  of  thirds  and  fifths. 


187 
PART    II. 

EXPOSITION   OF    THOUGHT. 

GREAT  injustice  would  be  done  to  elocution,  if  its  principles 
should  not  be  more  fully  explained  than  has  been  done  in  the 
preceding  part  of  this  treatise.  All  may  indeed  become  prac- 
tical speakers,  by  means  of  the  explanation  there  given  of  the 
general  facts  in  regard  to  the  natural  action  of  the  mind  and 
body  in  public  delivery,  but  cultivated  minds  can  never  rest  sat- 
isfied, without  a  knowledge  of  a  set  of  principles  founded  more 
on  laws  of  thought  and  language. 

We  must  endeavor  to  furnish  at  least  an  outline  of  the  physi- 
ology of  speech,  in  reference  to  the  principles  by  which  words 
are  united  into  groups  and  phrases,  and  receive  different  inflex- 
ions and  varying  degrees  of  force,  for  the  purpose  of  exhibiting 
the  exact  meaning  of  sentences. 

It  is  obvious  that  Articulation  and  Pronunciation,  ought  not 
to  be  classed  with  these  topics.  They  concern  words  taken 
singly,  and  are  not  affected  by  the  various  relations  of  sentences, 
or  parts  of  sentences,  to  each  other. 

The  Grouping  of  Words,  we  have  indeed  partially  described, 
as  a  physiological  law  producing  one  of  the  general  habits  of 
all  utterance,  but  have  reserved  its  more  scientific  and  accurate 
description  for  this  part  of  our  volume.  There  will  be  no  prac- 
tical inconvenience  however,  from  the  slight  repetition  which 
thus  becomes  unavoidable. 

Emphasis  has  been  considered  merely  in  reference  to  the 
general  mental  and  physical  exertion  by  which  it  is  effected.  It 
remains  to  point  out  the  principal  relations  of  thought  which 
make  it  necessary. 


188  EXPOSITION     OF    THOUGHT. 

Rhythm  is  one  of  those  general  habits  of  utterance  which 
are  entirely  independent  of  the  meaning  of  the  language;  it 
has  therefore  been  appropriately  placed  in  the  preceding  part. 
Yet  as  it  varies  somewhat,  according  to  the  peculiar  sentiment 
and  expression  of  what  is  read  or  spoken,  some  further  notice 
will  be  taken  of  it  in  part  third. 

Cadences,  which  have  been  already  treated  of,  have  a  few 
variations,  which  produce  a  greater  or  less  completeness  of 
separation  between  the  end  of  one  sentence  and  the  beginning 
of  the  next,  and  accordingly  will  receive  some  further  consider- 
ation in  respect  to  this  point,  under  the  head  of  Inflexion. 

The  topics,  then,  which  properly  belong  to  this  part  of  our 
treatise,  are — 

1st.  Grouping,  which  is  of  two  kinds;  one,  that  of  single 
words  into  Groups  of  Words;  the  other,  that  of  Groups  of 
Words  into  Phrases  of  Utterance. 

2.  Inflexions. 

3.  Emphasis. 

4.  Transition  between  paragraphs. 

But  before  proceeding  to  treat  specifically  of  these  subjects,  it 
is  necessary  to  premise  some  observations  on  the  connexion  be- 
tween elocution,  and  the  established  sciences  of  grammar  and 
rhetoric,  as  well  as  the  laws  of  reasoning. 

The  laws  which  it  is  now  our  province  to  investigate,  are 
like  those  in  the  first  part  of  our  treatise,  physiological;  and 
though  they  have  a  general  connection  with  those  of  grammar, 
rhetoric  and  logic,  they  cannot  entirely  coincide  with  them. 
Unless  the  reader  or  speaker  is  actuated,  either  consciously  or  un- 
consciously, by  a  part  at  least  of  the  laws  of  these  three  sciences, 
there  can  be  no  delivery  that  is  any  thing  more  than  a  mere  un- 
meaning articulation  of  words.  Yet  though  these  sciences  treat 
of  the  relations  of  language  and  of  thought,  neither  of  them  makes 
any  provision  for  the  pauses,  and  the  various  modulations  of 
voice,  by  which  the  distinctions  which  they  recognize  are  to  be 


EXPOSITION    OF    THOUGHT.  189 

exhibited  to  the  ear.  When  we  examine  a  written  or  printed 
sentence  by  the  eye,  in  reference  to  its  grammatical  or  rhet- 
orical structure,  and  to  the  logical  relations  of  its  ideas,  we 
mentally  place  words  in  juxtaposition,  which  are  separated  from 
each  other  by  intervening  ones.  In  doing  this,  we  are  guided 
by  principles  of  language  and  reasoning,  and  are  assisted  also 
by  marks  of  punctuation.  So  likewise,  if  we  listen  to  the  same 
composition,  delivered  with  an  unvarying  drawl,  like  that  of  a 
street  crier,  we  are  not  able  to  understand  its  meaning,  except 
by  the  same  process  carried  on  in  our  minds  as  we  listen.  But 
if  the  tones  of  the  delivery  are  those  of  free  and  animated  con- 
versation, nature  has  provided  modifications  of  the  voice,  which 
explain  to  the  listener,  with  infallible  certainty,  all  the  grammat- 
ical, rhetorical  and  logical  distinctions  which  he  must  himself 
make,  when  he  endeavors  to  understand  the  meaning  of  sen- 
tences, either  in  silent  reading,  or  while  listening  to  a  senseless 
style  of  utterance.  The  description  of  these  provisions  of  na- 
ture, is  the  province  of  elocution. 

Every  scientific  explanatory  distinction,  is  not  however  neces- 
sary for  intelligibility  in  ordinary  circumstances  ;  and  though 
we  believe  it  will  be  found,  on  thorough  investigation,  that  they 
are  all  provided  for  in  the  laws  of  utterance,  yet  the  mind  re- 
lieves both  itself  and  the  body  of  unnecessary  labor,  by  employ- 
ing no  more  resources  of  the  voice  than  are  necessary  and  con- 
venient in  particular  circumstances.  The  same  abridgment 
and  carelessness  are  tolerated  in  regard  to  language.  No  good 
style  employs  every  word  that  is  grammatically  and  logically 
admissible  in  reference  to  the  ideas  and  feelings  which  the 
writer  intends  to  convey. 

Accordingly  it  is  not  our  plan  to  exhaust  the  subject  of  the 

variations  of  the  voice  by  enumerating  and  describing  them  all. 

On  the  contrary,  we  shall  endeavor  to  confine  ourselves  within 

the  limits  of  practical  utility.     At  the  same  time,  while  we  shall 

aim  to  consider  elocution  in  its  natural  connection  with  establish- 

17 


190  EXPOSITION     OF    THOUGHT. 

ed  sciences,  especially  that  of  grammar,  let  not  the  student  appre- 
hend that  it  will  thus  be  rendered  more  abstruse  and  difficult. 
Instead  of  becoming  more  difficult,  it  will  be  rendered  easier. 

The  grammatical  principles  which  habitually  guide  our 
minds  in  correct  reading  or  speaking,  are  likewise  our  instinc- 
tive guides  in  conversation.  They  are  natural  laws  of  mental 
action,  which  prompt  the  utterance  of  the  child  and  the  man, 
the  educated  and  the  illiterate.  So  far  as  the  mind  is  concern- 
ed, the  very  act  of  reading  or  speaking  consists,  as  has  been 
mentioned  in  the  preface,  in  transferring  to  itself  written  or 
printed  words,  or  those  which  have  been  laboriously  selected  for 
extemporaneous  delivery,  in  the  condition  of  ideas  not  completely 
clothed  in  language,  so  that  their  utterance  shall  spring  from 
those  natural  impulses  by  which  we  express  ideas  in  articulate 
words  and  inseparably  associated  tones.  In  fewer  words,  the 
mind  is  to  be  brought  into  the  same  situation,  so  far  as  the  re- 
lations of  thought  are  concerned,  as  that  of  conversation.  If, 
however,  the  style  of  a  composition  is  more  complicated  and 
intricate  than  that  which  the  reader  or  speaker  would  himself 
employ,  the  difficulties  of  delivery  are  really  those  of  readily 
apprehending  the  grammar,  rhetoric  and  logic,  of  all  but  the 
simplest  passages.  A  teacher  of  reading  in  a  school,  is  in  fact 
occupied  principally  in  familiarizing  immature  and  feeble  minds, 
with  such  uncommon  and  difficult  forms  of  construction,  as  are 
employed  by  none  but  men  of  superior  depth  and  range  of  mind, 
and  which  are  never  heard  in  the  domestic  circle.  This  is  in- 
deed the  most  important  of  the  benefits  which  result  from  this 
branch  of  instruction  in  schools.  By  means  of  it,  that  cultiva- 
tion of  mind  is  attained,  which  qualifies  for  understanding  and 
appreciating  the  most  elevated  compositions,  and  which  can  oth- 
erwise be  acquired,  only  by  a  laborious  study  of  language,  or  by 
a  long  and  varied  course  of  reading. 

The  writer  requests  permission  to  insert  an  account  of  the 
following  experiment.  Believing  that  the  minds  even  of  young 


EXPOSITION    OF    THOUGHT.  191 

children,  may  readily  be  taught  to  apprehend  the  most  unac- 
customed forms  of  construction,  if  familiarized  with  them 
through  the  medium  of  their  appropriate  tones  of  utterance,  he 
took  a  class  of  about  twelve  little  boys  in  a  common  school,  whose 
average  age  was  not  far  from  ten  years,  and  drilled  them  for  some 
time,  in  reading  the  whole  of  the  epistles  to  the  Ephesians  and 
Philippians ;  books  which  are  more  difficult  of  comprehension,  so 
far  as  their  style  is  concerned,  than  any  others  of  the  sacred  vol- 
ume. He  then  requested  a  scholar  distinguished  for  the  ability 
with  which  he  had  commented  on  a  volume  of  Greek  literature,  to 
hear  the  boys  read.  The  gentleman  was  deeply  interested,  and 
himself  entered  upon  a  similar  course  of  mental  discipline.  When 
listening  to  these  children,  it  was  easy  to  perceive  the  reasons  of 
the  occasional  mistakes  which  they  made.  Such  errors  gener- 
ally resulted  from  connected  ideas  being  separated  by  interven- 
ing passages  of  such  length,  that  the  mind  of  the  child  forgot 
what  at  so  considerable  a  distance  had  preceded,  and  read  ideas 
as  separate,  which  required  to  be  joined  together.  Many  of  the 
examples  which  we  shall  insert  in  this  part  of  the  present  vol- 
ume, are  passages  written  in  periods  of  extreme  length,  and  re- 
quire some  degree  of  mental  cultivation  for  their  successful 
management  in  delivery.  This  cultivation  in  reference  to  ap- 
prehending the  meaning  and  force  of  difficult  passages,  can  be 
infallibly  acquired,  by  no  other  means  than  the  study  of  lan- 
guage in  some  one  of  the  customary  modes.  Although  children 
must  be  taught  by  mere  example  and  through  the  medium  of 
sympathy  with  the  mind  of  the  teacher,  yet  a  work  for  acade- 
mies and  colleges  ought  to  proceed  on  higher  grounds.  We 
shall  therefore  lay  down  no  principle  founded  on  the  mere  taste 
and  judgment  of  an  elocutionist,  but  shall  state  all  the  laws  of 
reading  in  coincidence  with  knowledge  derived  from  established 
branches  of  study.  This  plan  will,  as  we  have  just  said,  be 
found  as  much  more  easy  and  agreeable,  as  it  is  more  philo- 
sophical, and  in  accordance  with  regular  scholarship. 


192  EXPOSITION     OF    THOUGHT. 

CHAPTER  I. 

GROUPS     AND    PHRASES. 

IN  this  chapter  we  shall  present  a  general  account  of  the 
principles  upon  which  sentences  are  divided,  in  reading,  into 
portions  which  are  separated  by  pauses.  The  principles  of 
pauses  for  the  exposition  of  thought,  are  evidently  the  same  as 
those  for  dividing  sentences  into  groups  and  phrases.  It  will 
be  necessary  likewise,  to  make  some  remarks  upon  punctuation. 

The  common  directions  in  books  of  elocution,  for  subdivi- 
ding sentences  by  pauses,  are  so  loose,  and  yet  so  difficult  of 
ready  application,  that  teachers,  we  believe,  generally  recom- 
mend their  pupils  to  guide  themselves  solely  by  the  instincts  of 
the  ear.  Yet  as  even  young  children  find  it  natural  and  easy 
to  read  sentences  in  small  portions  with  appropriate  pauses,  it 
would  seem  that  the  principles  by  which  their  minds  are  actu- 
ally guided  must  necessarily  be  simple.  The  real  difficulty  in 
the  common  directions,  seems  to  arise,  not  from  the  fact  that 
they  are  founded  on  grammar,  but  from  their  application  re- 
quiring that  sort  of  grammatical  analysis  which  is  called  pars- 
ing. It  is  difficult,  and  indeed  almost  impossible,  for  one  to 
carry  on  a  process  of  parsing,  during  the  glowing  progress  of 
the  mind  which  is  necessary  for  animated  delivery.  Still,  much 
of  the  instinctive  analysis  made  by  a  reader,  is  in  accordance 
with  common  grammatical  principles.  The  most  necessary 
of  these  we  shall  endeavor  to  explain.  We  hope  the  occa- 
sional employment  of  a  few  familiar  terms  of  grammar,  will 
not  give  a  repulsive  aspect  to  the  following  pages,  especially  as 
the  examples  will  be  intelligible  without  any  description,  and 
their  practice  will  of  itself,  and  without  accompanying  com- 
ment, form  the  desired  habits  of  mind  in  delivery.  In  the  pres- 
ent, as  in  the  previous  part  of  the  volume,  all  that  is  absolutely 


PUNCTUATION.  193 

necessary  in  the  way  of  precept,  will  be  printed  in  a  larger 
type,  while  such  portions  will  be  still  fewer  than  heretofore. 

It  will  be  noticed,  that  although  we  refer  to  grammatical 
principles  for  the  purpose  of  explaining  the  formation  of  groups 
and  phrases,  yet  we  never  describe  them  as  invariably  coinci- 
ding with  particular  grammatical  combinations.  In  fact  the 
connexions  and  separations  which  are  made  among  words  in  nat- 
ural utterance,  need  not  be  wholly  of  the  same  kind  throughout 
a  sentence,  as  those  which  are  made  by  grammar.  When  we 
analyze  a  sentence  of  any  length,  on  grammatical  principles, 
we  are  continually  obliged  to  consider  the  relations  and  con- 
nexions of  words  that  are  separated — often  to  a  considerable 
distance — from  each  other,  by  intervening  words.  But  in  ut- 
tering the  sentence,  we  must  take  the  words  in  the  order  in 
which  they  occur. 

Neither  can  we  be  guided  exclusively  by  marks  of  punctua- 
tion, however  often,  or  with  whatever  accuracy,  these  may  be 
inserted.  As  we  shall  immediately  proceed  to  explain,  these 
marks  are  used  according  to  no  fixed  and  invariable  rule.  It 
is  impossible  that  they  should  be,  inasmuch  as  their  use  is  partly 
to  indicate  pauses  for  the  voice,  and  partly  to  assist  in  explain- 
ing the  grammatical  connexion  of  words,  in  situations  where 
no  pauses  are  made  in  natural  and  conversational  utterance. 
Even  when  inserted  with  the  greatest  admissible  frequency, 
they  never  indicate  all  the  divisions  in  sentences  where  pauses 
are  naturally  made.  The  frequency  and  length  of  vocal  pauses 
also,  can  never  be  reduced  to  fixed  and  uniform  principles,  be- 
cause they  are  always  influenced  in  a  greater  or  less  degree,  by 
the  style  of  delivery,  in  respect  to  calm  deliberation  or  eager 
excitement  in  pursuing  a  course  of  thought. 

Yet  as  it  is  a  very  prevalent  mistake  in  school  instruction,  to 

regard  the  common  marks  of  punctuation  as  intended  solely 

for  marking  pauses  of  the  voice,  it  will  be  well  to  devote  a  few 

words  to  a  consideration  of  our  modern  system  of  such  marks. 

17* 


194  EXPOSITION     OF    THOUGHT. 

The  ancients  employed  no  marks  corresponding  to  ours  of 
punctuation,  and  since  their  introduction  by  the  moderns,  the 
fashion  for  inserting  them  has  been  constantly  fluctuating. 
Authors  generally  leave  the  business  to  the  printers,  who  ex- 
hibit a  better  tact  in  using  them ;  yet  no  two  of  the  latter  follow 
precisely  the  same  rules.  A  hundred  years  ago,  semicolons, 
and  especially  colons,  were  much  oftener  employed  than  at  pre- 
sent. The  dash  is  of  later  adoption  than  the  other  marks,  and 
has  not  yet  been  introduced  to  any  great  extent,  in  punctuating 
the  sacred  Scriptures,  or  editions  of  the  ancient  classics. 
Some  editors  and  printers,  however,  make  an  extremely  frequent 
use  of  it,  as  a  substitute  for  all  the  others.  It  seems  to  be  the 
great  difference  in  construction  and  arrangement  between  mod- 
ern and  ancient  style,  that  has  led  to  the  adoption  of  the  dash  in 
addition  to  the  comma,  semicolon,  colon  and  period.  These 
regular  marks  were  first  employed  for  the  Latin  language,  and 
have  never  been  used  for  the  Greek,  for  which  a  different  set 
was  invented.  They  may  be  inserted  on  pretty  definite  and  in- 
variable principles  in  the  former  tongue,  and  likewise  in  com- 
positions in  modern  languages,  when  their  style  is  arranged  af- 
ter the  classic  models. 

But  whatever  plan  be  adopted  for  their  use,  they  are  less 
necessary  for  the  assistance  of  the  reader,  than  is  generally 
imagined.  The  ancients  did  without  them,  and  the  moderns 
make  but  little  use  of  them  in  manuscript.  A  letter  of  friend- 
ship, carefully  pointed  as  if  for  the  press,  would  appear  pedan- 
tic and  in  bad  taste.  It  is  laid  down  as  an  important  rule  of 
composition  by  Blair,  never  to  suffer  the  construction  of  a  sen- 
tence to  depend  on  the  absence  or  insertion  of  a  mark  of  punc- 
tuation. The  fashion  of  the  present  day,  inclines  to  use  as  few 
of  them  in  books  as  possible,  and  to  insert  commas  more  than 
formerly,  in  place  of  semicolons.  The  colon,  as  employed  a 
hundred  or  a  hundred  and  fifty  years  ago,  is  now  generally  su- 
perseded by  the  period.  In  short,  the  whole  set  of  marks  is  in- 


PUNCTUATION. 


195 


tended  to  indicate  a  part  only  of  the  grammatical  divisions,  and 
in  very  many  cases,  commas  are  inserted  in  situations  where  a 
pause  is  never  made  in  the  utterance  of  ordinary  conversation. 
As  the  latter  fact  is  not  generally  known,  it  may  be  useful  to 
insert  a  single  example,  although  scarcely  an  extract  is  intro- 
duced into  our  volume,  which  does  not  afford  instances.  E.  g. 
"  The  latest  foreign  news  by  the  steamer  is,  that  war  has  been 
declared  in  England."  In  this  example  the  comma,  by  the  in- 
variable rule  of  printing,  is  placed  between  the  copula  is,  and 
the  conjunction  that.  The  rule  admits  of  no  exceptions.  Yet 
in  conversation,  the  pause  is  invariably  before  is,  instead  of  af- 
ter it.  The  two  words  is  and  that  are  unaccented,  and  are 
grouped  with  whatever  words  immediately  follow.  If  we  pause 
after  is,  the  word  becomes  accented,  contrary  to  the  genius  of 
our  tongue.  In  Latin,  this  would  not  perhaps  be  the  case. 
The  rhythm  of  that  language,  like  that  of  the  French,  would 
suffer  est  to  receive  an  accent.  In  English,  the  division  of 
the  sentence  is  thus :  "  The  latest  foreign  news  by  the  steam- 
er is  that  war  has  been  declared  in  England."  We  have 
mentioned  the  comma  after  is,  as  the  only  one  in  accordance 
with  common  custom.  It  is  a  vague  rule,  however,  to  insert 
one  after  the  nominative,  (i.  e.  the  subject,)  when  this  is  long, 
though  how  long  it  must  be,  no  one  attempts  to  decide.  Ac- 
cording to  this  precept,  another  comma  might  be  introduced 
in  the  above  sentence,  viz.  before  is,  as  well  as  after  it.  By 
rule,  also,  there  may  be  still  an  additional  one  after  news;  e.  g. 
"  The  latest  foreign  news,  by  the  steamer,  is,  that  war  has  been 
declared  in  England."  Conversational  utterance,  however, 
will  always  group  is  with  that,  leaving  a  pause  at  the  end  of 
the  subject;  and  if  the  circumstance  "  by  the  steamer"  is  made 
important,  will  separate  it  from  the  preceding  member  likewise 
by  a  pause :  e.  g.  "  The  latest  foreign  news  by  the  steam- 

er        is  that  war  has  been  declared  in  England." 


196  EXPOSITION    OF    THOUGHT. 

The  mind  of  a  reader,  then,  may  notice  all  the  marks  of 
punctuation,  and  use  their  assistance  in  reference  to  a  quick 
apprehension  of  the  grammatical  structure  of  sentences;  or — 
what  is  the  same  thing — may  employ  them  as  aids  in  catching 
the  meaning  of  a  passage,  at  an  instantaneous  glance  of  the 
eye.  No  reader  must  however  take  them  as  invariable  guides 
for  vocal  pausing. 

Dismissing  therefore  all  further  consideration  of  the  common 
marks  of  punctuation,  it  remains  for  us  to  investigate  the  actu- 
al connexions  and  separations  of  words  that  take  place  in  utter- 
ance, and  the  consequent  pauses  that  are  needed.  This  sub- 
ject will  be  considered  under  the  heads  of  Groups  of  Utterance, 
and  Phrases  of  Utterance. 

The  kngths  of  the  different  pauses  that  separate  groups  and 
phrases,  can  be  reduced  to  no  unvarying  principles,  except 
when  they  are  determined  by  the  rhythm.  Neither  does  any 
difficulty  ever  occur  in  reference  to  this  point.  Phrases  are 
naturally  separated  by  longer  pauses  than  groups.  Groups  of 
more  than  one  accent,  or  compound  groups,  as  they  will  be 
called,  are  often  subdivided  for  mere  convenience  of  breath. 
The  absolute  length  of  any  particular  pause,  perpetually  varies 
in  accordance  with  the  slowness  of  the  delivery,  or  the  demands 
of  the  rhythm ;  and  in  respect  to  these,  the  natural  instincts  of 
the  ear  and  voice  are  infallible  guides. 

The  significance  of  a  pause  does  not  often  depend  on  the 
degree  of  its  length,  but  is  determined  by  the  inflexion  and 
prolongation  of  tone  on  the  word  that  immediately  precedes  it. 
In  speaking,  the  attitude,  look  and  gesture,  likewise,  are  es- 
sential to  the  significance  of  a  pause. 

The  management  of  the  breath,  though  connected  with  the 
length  of  pauses,  is  not  absolutely  dependent  on  them,  as  has 
been  already  mentioned  on  page  52.  Vide  also,  pp.  99,  101, 
105,  107,  108. 


PRINCIPLES     OF    GROUPING.  197 


PRINCIPLES    OF    GROUPING. 

Among  our  practical  directions,  we  enjoin  as  the  most  impor- 
tant precept  for  managing  the  mind  in  delivery,  "  to  think  in- 
tensely while  speaking."  It  will  be  necessary  therefore,  to  in- 
vestigate in  this  place  so  much  of  the  action  of  the  mind  in 
thinking,  as  immediately  influences  the  voice  in  utterance.  It 
belongs  to  elocution  as  a  branch  of  physiology,  to  describe  the 
joint  action  of  the  mental  as  well  as  the  vocal  impulses,  which 
produce  the  varying  modifications  of  the  voice  that  occur  in  the 
utterance  of  thought  and  feeling. 

Though  the  first  impulses  from  which  thought  and  reasoning 
spring,  do  not  exist  in  the  form  of  words,  yet  these  immediately 
follow ;  and  whatever  may  in  some  cases  be  possible,  it  is  un- 
questionable that  we  ordinarily  think  by  means  of  words. 
Words  however,  take  in  the  mind  the  forms,  not  of  written  but 
of  spoken  language.*  Even  in  silent  thought,  the  words  which 
we  employ  are  imagined  as  sounds.  More  especially  in  uttered 
thought,  words  are  sounds  expressed  by  articulation,  and  have 
as  necessary  accompaniments  the  various  modifications  of  the 
voice  which  we  are  investigating. 

From  the  account  given  in  the  second  chapter  of  Genesis, 
and  from  the  earliest  efforts  of  children  in  learning  to  talk,  it 
would  seem  that  the  first  act  of  speech  is  to  articulate  names  of 
things ;  that  is,  to  employ  nouns  as  the  first  elements  of  lan- 
guage. Some,  however,  have  supposed  that  verbs  must,  in  the 
history  of  language,  be  of  earlier  origin  than  nouns.  It  will  not 

*  When  we  learn  a  language,  without  studying  the  pronunciation,  we 
still  associate  some  sort  of  sound  with  the  written  characters.  If,  as  in 
the  case  of  Chinese  characters  or  Egyptian  hieroglyphics,  we  know 
nothing  about  their  sound,  we  still  associate  with  them  words  or 
phrases  which  express  their  meaning  in  our  own  tongue.  We  pro- 
nounce the  written  characters  by  means  of  our  own  language. 


198  EXPOSITION    OF    THOUGHT. 

be  necessary  for  our  purpose  to  adopt  either  opinion  to  the  ex- 
clusion of  the  other.  It  is  certainly  the  earliest  effort  in  all 
speech,  to  make  use  of  words,  which  by  themselves  convey 
ideas.  These  words  are  nouns  (including  adjectives)  and  verbs 

If  a  noun  or  verb  consists  of  several  syllables,  the  unity  with 
which  the  mind  regards  them  collectively,  is  vocally  expressed 
by  means  of  a  strong  accent  on  one  of  the  syllables,  as  described 
in  the  first  part  of  this  treatise.  This  strong  effort  on  one  syl- 
lable, causes  the  others,  by  the  laws  of  muscular  action,  to  have 
a  weaker  utterance. 

The  mind  being  more  strongly  interested  in  these  words  of 
primary  importance,  they  are  uttered  with  more  force  than  those 
which  convey  no  ideas  by  themselves,  but  which  are  merely 
subservient  to  the  others.  On  account  of  this  subserviency, 
secondary  words  of  speech  are  united,  in  the  view  which  the 
mind  takes  of  them,  to  the  primary  ones.  This  union  is  repre- 
sented by  the  voice,  through  the  medium  of  such  a  close  junc- 
tion as  admits  of  no  pause  between  them.  The  actual  words  of 
utterance  are  what  we  have  called  groups,  and  are  often  com- 
pounded of  a  primary  word,  and  one  or  more  of  these  secondary 
ones  which  have  no  meaning  except  in  union  with  the  primary. 

The  law  of  repeated  muscular  action  also,  being  that  of  an 
alternation  of  stronger  and  weaker  efforts,  secondary  words  are 
uttered  in  the  weaker  action.  Thus,  as  they  are  weaker,  and 
also  united  to  the  stronger  primary  ones,  we  have  a  succession 
of  groups,  each  of  which  has  a  single  strongly  accented  syllable, 
and  is  separated  from  those  which  precede  and  follow,  by  some 
degree  of  pause,  i.  e.  by  a  break  in  the  continuity  of  articula- 
tion. 

We  have  thus,  by  a  strictly  scientific  investigation,  demon- 
strated the  doctrine  of  the  grouping  of  speech,  which  we  had 
before  explained  and  illustrated  in  a  general  and  popular  way. 

We  formerly  mentioned  however,  that  numerous  exceptions  oc- 
cur to  the  law,  by  which  the  secondary  parts  of  speech  are  either 


PRINCIPLES    OF     GROUPING.  199 

monosyllabic  and  unaccented  words,  or,  if  polysyllabic,  are  ac- 
cented with  less  force,  and  inseparably  connected,  by  grouping, 
with  nouns  or  verbs.  It  is  necessary  to  notice  these  exceptions 
more  carefully. 

Ordinary  speech  is  always  in  a  considerable  degree  elliptical 
and  abridged.  It  is  often  also  irregular  in  respect  to  the  most 
logical  arrangement  of  its  words.  But  if  speech  be  made  per- 
fect, by  supplying  words  for  every  idea,  and  relation  of  thought, 
the  law  which  we  have  just  described  will  be  invariably  ob- 
served. The  more  complete  and  regular  the  style  of  a  written 
composition,  the  more  simple  are  the  laws  of  its  elocution. 

In  many  cases  however,  this  natural  grouping  is  broken  in 
upon,  for  no  other  reason  than  simple  physical  convenience  of 
utterance.  Take  for  instance  such  a  phrase  as,  The  weather — 
is  cloudy ;  we  have  two  groups  of  easy  utterance.  Lengthen 
the  last  group  by  a  monosyllabic  adverb,  and  it  still  will  have 
but  one  strong  accent,  e.  g.  The  weather — is  quite  cloudy.  But 
if  the  qualifying  adverb  is  a  polysyllabic  word,  and  of  consider- 
able length,  it  will  require  an  accent  on  one  of  its  syllables  to 
give  the  word  a  unity,  e.  g.  The  weather — is  extraordinarily 
cloudy.  Now  if  we  utter  this  last  sentence  with  particular  care 
in  reference  to  making  ourselves  understood,  the  accent  which 
we  shall  give  to  the  syllable  or,  will  be  less  strong  than  that  on 
the  ou  of  cloudy,  and  by  taking  breath  beforehand,  the  two 
words  will  be  uttered  at  one  impulse,  and  be  closely  connected. 
They  will  thus  form  no  exception  to  the  law  of  grouping.  But 
if  the  mind  is  in  a  more  careless  state,  and  we  suffer  ourselves 
to  be  influenced  by  mere  bodily  convenience,  the  accent  on  the 
adverb  extraordinarily,  may  become  equally  strong  with  that 
on  the  adjective  cloudy,  and  the  two  words  may  be  dissevered 
from  each  other  by  a  pause  for  convenience  of  respiration,  or  for 
rest  on  the  part  of  the  organs  of  speech. 

So  too,  the  adverb  may  be  emphatic,  in  which  case  it  will  be 
uttered  with  peculiar  force  and  energy.  In  the  case  however, 


• 

200  EXPOSITION     OF    THOUGHT. 

of  emphatic  force  on  the  secondary  parts  of  speech,  it  is  not  in 
fact  the  ordinary  accent  of  nouns  and  verbs,  by  which  they  are 
made  prominent.  Instead  of  receiving  this,  they  take  on  that 
higher  energy,  which  on  all  words  alike,  distinguishes  accent 
from  emphasis.  This  will  be  considered  in  a  subsequent 
chapter. 

It  was  also  mentioned  in  part  first,  that  these  secondary  words 
may  be  divided  from  those  with  which  they  group,  by  intervening 
words.  E.  g.  The  w&ailier — is  extraordinarily — and  disagree- 
ably— cloudy.  Or,  The  weather — is  to-day — extraordinarily 
cloudy.  It  will  readily  however  be  perceived,  that  these  cases 
form  no  true  exceptions  to  the  doctrines  just  stated,  respecting 
the  different  strength  of  the  two  classes  of  accent. 

These  last  examples  are  likewise  very  instructive,  in  refer- 
ence to  the  way  in  which  words  are  united  into  groups.  In  the 
latter,  to-day  interrupts  the  connexion  between  is  and  the  sub- 
sequent words.  This  interruption  causes  is  to  be  united  with 
it,  so  that  is  to-dHy  becomes  in  utterance,  a  polysyllabic  word. 
The  principle  by  which  this  takes  place,  is  simply  one  of  con- 
venience of  enunciative  effort,  and  has  little  reference  to  the 
meaning.  Being  unaccented,  a  pause  cannot  be  made  after  it 
without  causing  it  to  receive  an  accent.  But  in  the  mean  time, 
as  to-day  is  an  intervening  circumstance,  it  is  separated  from 
the  following  words  by  a  pause  ;  and  a  single  pause  answers  the 
purpose  as  fully  as  if  the  circumstance  were  preceded  as  well 
as  followed  by  one.  So  too,  in  the  other  example,  the  two  ad- 
verbs extraordinarily  and  disagreeably  are  separated  by  a  pause 
from  each  other,  while  the  latter  is  separated  from  the  adjective 
cloudy,  by  the  same  means.  The  result  is,  that  both  alike  are 
shown  to  qualify  the  adjective,  while  at  the  same  time  one  ad- 
verb does  not  qualify  the  other.  Both  these  objects  are  effec- 
tually accomplished,  although  for  convenience  of  utterance,  is 
is  inseparably  united  to  the  first  adverb,  while  and  is  in  equally 
close  union  with  the  second. 


PRINCIPLES     OF     GROUPING.  201 

The  law  of  grouping,  then,  is  the  following. 

Words  are  of  two  classes ;  nouns  and  verbs,  which 
are  strongly  accented  ;  and  other  parts  of  speech,  which 
are  weakly  accented. 

Words  with  no  accent,  or  with  a  weak  one,  are  if  pos- 
sible, united  to  accented  words,  according  to  their  con- 
nexion in  meaning. 

But  if  they  are  separated  by  intervening  words,  they 
are  united  to  the  first  subsequent  word  that  has  an  ac- 
cent. 

Articles  and  adjectives  must  be  united  to  nouns ;  ad- 
verbs to  verbs;  auxiliary  verbs  to  their  principals;  pro- 
nouns to  verbs,  (as  nominative  or  objective  cases;)  a 
preposition  to  a  word  which  it  connects ;  and  a  con- 
junction to  one  of  the  two  words  which  it  connects,  or 
to  the  first  accented  word  of  the  phrase  to  which  it  be- 
longs. 

Adjectives  generally  receive  an  accent  equally  strong 
with  that  upon  nouns.  If  but  a  single  adjective  quali- 
fies a  noun,  it  cannot  (unless  for  emphasis)  be  separated 
from  it  by  a  pause.  When  an  adjective  intervenes  be- 
tween an  unaccented  word  and  the  noun  to  which  it 
belongs,  the  unaccented  word  groups  with  the  adjective. 

In  the  latter  case,  they  all  form  one  group,  so  far  as  a  pause 
of  meaning  is  concerned.  In  rhythm,  they  often  form  two 
groups,  because  they  have  two  strong  accents. 

In  the  following  examples,  the  parts  of  speech  in  each  group 
are  indicated  by  abbreviations  placed  over  the  words. 

pr.    aux.  v.       v.  ad.  pr.      n.  con.  n.  prep.    n. 

They  have  united       every  rank       and  description       of  men, 

prep.  art.         n.  prep.  adj.  pr.        n. 

by   the  pressure       of  this   subject. 

18 


202  EXPOSITION     OF    THOUGHT. 

The  next  example  is  the  same  sentence,  with  the  exception 
that  the  last  group  is  divided  into  three,  by  the  insertion  of  two 
adjectives.  The  separation  of  the  two  adjectives  from,  each 
other,  shows  that  both  belong  to  the  same  noun. 

They  have  united      every  rank      and  description      of  men, 

prep.  adj.  pr.    ad.  con.  ad.  n. 

by  the  pressure      of  this  grand      and  momentous      subject. 

We  will  continue  the  same  passage,  and  divide  the  words 
into  the  smallest  allowable  groups.  For  convenience  of  print- 
ing, we  shall  be  compelled  to  divide  the  second  phrase  into 
three  parts,  and  the  last  into  two.  This  division,  however,  will 
be  made  by  the  voice,  if  the  speaking  is  very  slow  and  strong. 

con.  pr.  v.       pr. 

And  I  tell  them, 

pr.    aui.  v.   v. 

they  will  see 

ad.  pr.        ad.        con.  ad.  n. 

every  honest     and  independent      man 

prep.       n. 

in  /reland, 

v.  prep.     pr.  n. 

rally    round  her  constitution, 

con.         v.  ad.  pr.  n. 

and  merge     every  consideration, 

prep.  pr.  n. 

in   his  opposition 

prep.  ad.  pr.  ad.  con.        ad.  n. 

to  this  ungenerous     and  odious     measure. 

These  examples  will  be  abundantly  sufficient  for  illustrating 
the  grammatical  principles  of  grouping.  We  have  taken  pains 
to  select  such  as  admit  of  short  groups,  and  such  as  have  pauses 
of  meaning  between  them.  In  some  of  the  examples  for  prac- 
tice which  we  have  already  furnished,  and  in  many  of  those 


PRINCIPLES     OP    GROUPING.  203 

which  we  shall  hereafter  present,  much  longer  groups  will  be 
found.  Groups  of  extreme  length  are  indeed  always  divided, 
in  the  slowest  and  strongest  speaking,  into  such  small  portions 
as  we  have  now  presented.  When  we  do  not  so  divide  them, 
it  is  because  rapid  or  very  glowing  delivery  would  be  injured 
by  thus  breaking  the  close  connexion.  It  must  be  remembered, 
however,  that  when  two  groups  are  united,  though  no  absolute 
pause,  or  total  cessation  of  sound  may  perhaps  occur,  yet  the 
regular  articulating  and  rhythmical  pauses  must  come  in. 
For  the  description  of  these,  the  student  is  requested  to  turn 
back  before  leaving  this  section,  to  p.  138,  in  the  chapter  on 
rhythm.  In  this  part  of  our  treatise  we  shall  indicate  mere  ar- 
ticulating and  rhythmical  pauses,  by  a  hyphen  placed  in  a 
wider  space  between  the  words. 

To  the  statement  that  nouns  and  verbs  take  the  strong  ac- 
cent, there  are  certain  exceptions,  which  need  to  be  noticed. 
Many  monosyllabic  verbs  of  the  most  common  occurrence,  in 
very  frequent  instances,  and  especially  in  familiar  and  rapid 
delivery,  take  the  weak  accent.  The  same  is  also  true  of  a  few 
which  have  two  syllables.  These  verbs  are  such  as  see,  know, 
come,  go,  make,  bring,  put,  seem,  think,  deem,  &c. — also,  be- 
come, suppose,  appear,  and  others.  A  few  nouns  likewise  are 
often  used  in  the  same  way.  The  principal  are  man  and  men. 
The  first  two  phrases  of  our  last  example  afford  instances  of  this 
principle  in  reference  to  the  verb  see,  and  the  noun  man.  We 
will  reprint  them  with  the  grouping  of  rapid  delivery. 

And  I  tell  them 

\ 
they  will  see  every  honest     and  independent  man     in  Ireland, 

But  when  groups  are  made  of  such  length,  the  speaker's  ar- 
ticulation is  apt  to  be  indistinct,  unless  he  has  well  established 
habits  of  accuracy  in  respect  both  of  articulation  and  rhythm. 
If,  on  the  other  hand,  his  habits  in  these  respects  are  of  the 


204  EXPOSITION     OP    THOUGHT. 

most  perfect  kind,  the  whole  of  this  second  phrase  may  be  ut- 
tered with  merely  two  articulating  or  rhythmical  pauses  and 
at  one  impulse  of  the  voice.  This  may  even  be  done  without  a 
hurried  degree  of  rapidity.  In  impassioned  argument  or  sen- 
timent, such  fusing  of  the  groups,  when  executed  with  perfect 
distinctness,  often  produces  a  glowing  and  captivating  effect. 

As  we  shall  explain,  in  a  subsequent  section,  strong  emphasis 
sometimes  in  glowing  or  vehement  delivery,  fuses  groups  to- 
gether and  makes  them  very  long. 

In  the  following  example,  the  word  defendant  is  used  like  a 
pronoun,  and  indeed  the  pron.  he,  might  with  propriety  be  sub- 
stituted for  it.  In  the  same  example  we  have  likewise  the  verbs 
forced  and  become,  uttered  with  a  weak  accent,  on  account  of 
the  strong  emphasis  which  follows  each. 

\ 
Yes,     gentlemen, 

\ 
the  defendant  has  forced  the  PRESS, 

\ 
to  become  the  disturber  -  of  domestic  QUIET. 

Groups  that  are  grammatically  subdivided  by  an  articulating 
pause,  we  shall  call  compound  groups.  We  shall  distinguish 
them  in  the  mode  of  printing,  by  employing  a  hyphen  placed  in 
a  somewhat  wider  space. 

PHRASES    OF    UTTERANCE. 

We  have  seen  that  words  are  united  into  groups  by  two  prin- 
ciples. First,  they  may  be  so  essentially  connected  in  gram- 
mar, that  without  such  union  each  word  of  the  group,  except 
the  accented  one,  would  be  destitute  of  meaning.  Secondly, 
when  such  union  is  prevented  by  an  intervening  word  or  words, 
unaccented  words  are  united  to  the  first  subsequent  one  that  has 
an  accent — this  union  being  not  grammatical,  but  rhythmical. 

It  has  also  been  seen  that  groups  may  be  compounded,  so 
that  a  considerable  number  of  words  are  uttered  with  one  im- 


PHRASES. 


205 


pulse  of  the  mind  and  voice,  as  if  they  were  one  extremely 
long  word ;  the  whole  collection  having  a  unity  given  to  it,  by 
the  ardor  of  the  mind  in  setting  forth  the  relations  of  thought. 

On  principles  precisely  similar,  the  union  of  groups  forms 
phrases  of  utterance.  The  former  being  so  far  as  utterance 
is  concerned  the  words  of  discourse,  their  union  into  grammat- 
ical clauses  forms  phrases,  which  being  considered  each  as  a 
whole,  are  uttered  with  one  continuous  act.  The  reason  for 
using  the  term  phrase,  instead  of  giving  them  the  same  appel- 
lation which  they  receive  in  grammar,  is,  that  although  a  clause 
is  always  a  grammatical  whole,  yet  in  delivery  it  may  often  be 
divided  into  two  or  more  parts,  for  the  sake  of  dwelling  on  each 
with  a  more  earnest  enforcement  of  its  importance. 

We  apply  the  term  phrase,  then,  to  such  a  portion  of  a  sen- 
tence as  is  delivered  with  one  earnest  look,  attitude  and  ges- 
ture, and  with  that  tone  of  continuity  in  the  voice  which  ex- 
presses a  short  course  of  thought,  and  one  of  such  a  kind,  that 
the  mind  prepares  for  its  utterance  beforehand,  and  rests  mo- 
mentarily after  it. 

If  the  style  of  a  discourse  be  faultless,  and  the  delivery  not 
only  rapid  and  familiar,  but  without  force  or  earnestness,  the 
phrases  of  utterance  will  invariably  coincide  with  the  grammat- 
ical clauses  of  the  periods.  No  matter  how  long  these  may  be, 
each  will  be  uttered  with  one  continued  progress  of  the  voice. 
An  instinctive  effort  will  likewise  be  made  to  utter  each  during 
a  single  expiration.  If  breath  be  taken  in  the  course  of  one 
of  them,  it  will  be  done  so  quickly,  that  the  reader  or  speaker 
will  be  unconscious  of  the  act. 

It  is  this  natural  effort  to  read  a  clause  at  a  breath,  for  the 
sake  of  exhibiting  the  meaning,  that  causes  unskillful  persons  to 
complain  generally  of  long  periods  as  being  fatiguing  to  read. 
Coleridge,  when  ridiculing  the  fashion  prevalent  in  the  latter 
part  of  the  last  century,  for  writing  in  very  short  periods,  speaks 
of  such  styles  of  composition  as  being  calculated  for  short-wit- 

18* 


206  EXPOSITION    OF    THOUGHT. 

ted  intellects  and  asthmatic  lungs.  Unpractised  readers,  for 
the  same  reason,  incline  to  read  long  clauses  and  sentences 
faster  than  short  ones. 

One  of  the  earliest  things  to  be  learned  in  reading  or  speak- 
ing, is  to  acquire  the  power  of  keeping  the  unity  of  clauses 
clearly  and  steadily  present  to  the  mind,  while  at  the  same  time 
the  physical  act  of  delivery  is  rendered  deliberate  and  easy,  by 
pauses  of  such  length  and  frequency,  as  prevent  any  degree  of 
hurry  or  fatigue,  tt  requires,  however,  considerable  mental 
discipline,  and  at  least  some  experience  in  delivery,  to  manage 
a  composition  written  in  a  diffuse  style  and  in  periods  of  great 
length,  in  such  a  way  that  the  sense  shall  be  exhibited  with 
perfect  clearness,  while  at  the  same  time  the  elocution  shall  be 
as  deliberately  slow  and  impressive  as  if  the  sentences  were  ve- 
ry short,  and  each  with  a  full  cadence  at  the  end.  Yet  this 
skill  must  be  acquired,  and  its  acquisition  is  not  so  difficult  as 
would  at  first  be  supposed. 

It  is  easy  to  acquire  it,  because  nothing  more  is  needed,  than 
to  practise  in  reference  to  written  composition,  what  every  one 
exhibits  in  conversation ;  it  being  as  essential  to  the  very  na- 
ture of  language,  as  is  the  articulation  of  single  words.  The 
principles  which  form  clauses  are  few  and  simple,  and  are  ex- 
emplified by  children  as  perfectly  as  by  men  of  the  most  com- 
prehensive intellects.  Each  clause  generally  begins  with  some 
connecting  word,  which  at  once  indicates  the  grammatical  ar- 
rangement that  is  to  follow.  The  mind  of  the  reader  sets  out 
at  the  beginning  of  the  clause,  with  a  clear  apprehension  of 
what  will  be  the  subsequent  construction  ;  which  construction 
continues  till  the  end  of  the  clause.  Independent  of  punctua- 
tion, the  end  is  shown  by  the  very  fact,  that  not  until  arriving 
at  it,  do  the  words  of  the  clause  form  a  complete  construction. 
The  next  clause  then  begins  with  a  similar  warning  to  the  mind, 
and  so  on  throughout  the  whole  course  of  the  period.  In  this 
way,  there  is  no  real  necessity — at  leas't  in  the  case  of  a  well 


PHRASES. 


207 


arranged  style — for  the  moderns,  any  more  than  for  the  ancients, 
to  depend  on  marks  of  punctuation.  Neither  is  it  necessary, 
as  unpractised  readers  so  often  suppose,  to  read  over  the  sen- 
tence beforehand,  or  to  keep  the  eye  several  words  in  advance 
of  those  which  the  voice  is  actually  uttering.  The  construc- 
tion of  a  sentence  is  always  grossly  incorrect,  when  in  reading 
it,  the  mind  is  taken  by  surprise  at  the  end,  and  finds  the  mark 
for  a  period  when  it  had  not  anticipated  one,  or  some  grammat- 
ical arrangement  different  from  what  the  previous  part  of  the 
sentence  had  led  the  reader  to  expect. 

We  have  said  that  the  mind  is  guided  in  anticipating  the 
construction,  by  particular  words  (in  most  cases  those  which 
are  called  in  grammar  connectives,  such  as  conjunctions  and 
relatives)  at  the  beginning  of  each  clause.  Often,  however,  it 
is  not  so  much  any  particular  word,  as  a  very  plain  and  obvious 
grammatical  arrangement,  which,  even  for  the  feeblest  minds, 
needs  no  indicating  word.  This  is  the  case  with  the  great  pri- 
mary division  of  all  sentences  into  subject  and  predicate.  The 
nominative  independent  with  a  participle,  or  case  absolute,  as 
it  is  more  properly  called,  is  also  another  instance,  of  perpetual 
occurrence. 

This  general  description  of  the  manner  in  which  the  mind 
is  infallibly  guided  in  reading  at  sight,  we  have  in  most  cases 
found  sufficient  for  practical  purposes,  when  perpetually  illus- 
trated by  the  voice  of  the  teacher.  But  in  a  work  like  the  pre- 
sent, the  most  common  and  important,  at  least,  of  the  gram- 
matical forms  of  chuses  and  phrases,  ought  to  be  enumerated 
and  illustrated  by  examples.  This  we  shall  proceed  to  do. 
We  must  first,  however,  consider  the  question,  what  constitutes 
the  distinction  between  a  phrase  and  a  group. 

Though  as  already  mentioned,  it  is  natural  to  endeavor  to 
read  the  whole  of  any  one  clause,  no  matter  what  may  be  its 
length,  with  a  single  continuous  effort  of  the  mind  and  voice, 
yet  convenience  of  utterance  often  requires  them  to  be  divided. 


208  EXPOSITION    OF     THOUGHT. 

Slowness  and  earnestness  of  delivery,  likewise,  will  cause  the 
mind  to  dwell  upon  the  parts  of  a  subdivided  phrase,  with  a  to- 
tal absorption  for  the  time  in  the  feeling  of  the  importance  of 
each — such  an  absorption  as  causes  it,  momentarily  at  least,  to 
forget  every  part  of  the  discourse  except  the  portion  that  it  is 
uttering.  In  correspondence  with  this  state  of  the  mind,  an 
entire  and  complete  effort  of  voice,  breath,  attitude  and  gesture, 
will  be  expended  solely  on  this  shorter  portion.  A  single  group 
may  thus  become  an  entire  phrase. 

We  find  therefore,  that  the  laws  according  to  which  short 
grammatical  collections  of  \vords  are  to  be  considered  phrases 
rather  than  groups,  are  not  definite  and  invariable;  depending 
as  they  do,  on  the  degree  of  slowness  and  earnestness  of  the 
whole  delivery,  which  are  qualities  incapable  of  being  reduced 
to  precise  rules.  The  distinction  is  a  physiological  and  not  a 
grammatical  one.* 

In  some  of  the  examples  hitherto  given,  phrases  have  been 
subdivided  for  no  other  reason  than  the  necessity  of  accommo- 
dating them  to  the  width  of  a  duodecimo  page.  In  the  present 
chapter,  whenever  a  grammatical  clause,  strictly  makes  one 
phrase,  yet  on  account  of  its  length  requires  to  be  subdivided, 
the  several  phrases  will  be  inclosed  by  a  bracket.  As  a  con- 
clusion, from  the  above  remarks,  we  may  define  a  phrase  of  ut- 
terance as  follows. 

A  phrase  of  utterance  is  an  entire  grammatical  clause 
of  a  sentence,  or  such  a  portion  of  a  clause  as  is  uttered 
in  a  single  prolonged  act  of  delivery. 

A  phrase  may  consist  of  a  single  group  of  words,  or 
be  made  up  of  two  or  more  such  groups. 

*  The  case  is  similar  in  regard  to  the  question,  what  length  is  allowa- 
ble for  an  entire  line  or  verse  in  poetry?  Even  Hermann,  after  all  his 
immense  labor  to  reduce  the  laws  of  meter  to  a  science,  has  not  been 
able,  in  answer  to  this  question,  to  refer  to  any  more  exact  standard 
than  the  natural  length  of  an  expiration  in  breathing. 


PHRASES.  209 

The  pauses  and  inflexions  of  the  voice  at  the  ends  of 
phrases,  separate  them  distinctly  and  definitely  from 
each  other. 

Each  phrase  has  also  throughout  its  whole  course,  its 
own  appropriate  and  peculiar  style  of  vocal  modulation. 

When  phrases  are  made  up  of  distinct  groups,  the  in- 
terruptions of  vocal  continuity  which  separate  the  groups 
from  each  other,  are  not  as  strongly  marked  as  those 
which  occur  at  .the  end  of  phrases. 

The  actual  pauses,  or  total  cessations  of  sound,  which 
take  place  between  groups,  may  always  in  rapid  deliv- 
ery be  omitted,  or  changed  into  mere  articulating  and 
rhythmical  pauses. 

Subdivided  clauses,  may  in  the  same  way  be  united 
into  a  single  phrase,  by  a  change  in  the  style  of  delivery. 
But  as  long  as  the  delivery  continues  in  the  same  style, 
phrases  must  never  be  united  together,  though  it  is  al- 
lowable to  do  so  in  the  case  of  groups. 

A  correct  delivery  of  phrases  depends  on  care  and  in- 
tentional effort  of  the  mind,  at  the  time  of  uttering  the 
phrase. 

But  grouping  is  a  general  habit  in  delivery,  which  re- 
quires no  particular  care  after  the  habit  is  formed. 

The  mind  of  a  reader  or  speaker,  is  guided  in  divid- 
ing sentences  into  phrases,  by  plain  and  obvious  gram- 
matical constructions,  the  neglect  to  observe  which, 
would  prevent  the  sentence  from  conveying  any  mean- 
ing. 

At  the  beginning  of  most  phrases,  a  warning  is  also 
given  by  the  occurrence  of  some  word,  which  indicates 
that  a  new  phrase  is  coming,  and  likewise  shows  what 
will  be  its  construction.  Whenever  no  such  warning 


210  EXPOSITION    OF    THOUGHT. 

word  occurs,  the  construction  is  always  (if  the  style  be 
correct)  so  obvious  as  to  need  none. 

We  now  proceed  to  describe  and  exemplify  the  most  com- 
mon and  important  grammatical  constructions  which  charac- 
terize clauses,  and  which  guide  readers  and  speakers,  in  pro- 
ceeding by  successive  steps  of  phrases  of  utterance. 

The  first  and  most  common,  is  the  fundamental  one 
of  subject  and  predicate. 

This  has  been  abundantly  exemplified  in  the  first  part  of  the 
volume,  for  the  purpose  of  simplifying  the  general  explanation 
of  Emphasis.  Instead  of  furnishing  additional  examples  in  this 
place,  it  will  be  better  to  refer  back  to  pp.  109  to  112,  where 
the  divisions  are  exclusively  in  accordance  with  this  distinction. 
In  most  of  those  examples,  each  subject  and  each  predicate 
forms  a  phrase  by  itself.  Sometimes  however,  the  subject  is 
merely  a  pronoun,  in  which  case  it  is  grouped  with  the  first  ac- 
cented word  of  the  predicate,  and  the  whole  forms  a  phrase. 
On  p.  112,  are  examples  of  subj.  and  pred.,  being  equally  em- 
phatic, and  when  each  is  short,  the  sentence  is  printed  in  one 
line.  Such  lines  however,  are  strictly  composed  of  two  phrases. 
Yet  if  the  subject  does  not  form  a  phrase  by  itself,  it  always 
constitutes  a  distinct  group,  unless  it  is  a  pronoun,  or  a  repeated 
noun  used  as  a  pronoun.  An  example  of  the  last  case  has  been 
lately  furnished  in  the  section  on  grouping,  at  p.  204. 

The  question  whether  the  pause  between  the  subject 
and  predicate  is  sufficient  to  constitute  them  distinct 
phrases,  of  course  depends  on  either  the  length  or  the 
importance  of  the  one  or  the  other. 

If  the  subject  is  very  long,  or  is  emphatic,  it  forms  a 
distinct  phrase.  The  same  principle  applies  to  the 
predicate. 


SUBJECT    AND     PREDICATE, 


211 


The  first  two  lines  on  p.  110,  will  make  one  long  phrase,  or 
will  be  divided  into  two,  according  to  the  degree  of  deliberate 
force  and  earnestness  of  the  delivery.  The  remainder  of  the 
extract  furnishes  two  instances  of  short  predicates,  which  will 
in  a  similar  manner  be  uttered  in  the  same  phrase  with  their 
subjects,  unless  the  delivery  be  very  slow.  In  this  way,  the 
whole  extract  may  be  uttered  in  six  phrases,  as  there  presented, 
or,  more  rapidly,  in  three. 

The  division  between  these  two  essential  parts  of  every  sen- 
tence may  exist  under  forms  of  construction  different  from  the 
common  one  to  which  we  have  just  referred,  and  with  various 
connecting  words.  Yet  these  differences  are  attended  with  no 
difficulty  in  regard  to  immediate  apprehension.  We  will  illus- 
trate the  following  cases. 

It  frequently  happens  that  the  predicate  clause  of  a 
sentence  has  the  pronoun  it  for  its  immediate  subject, 
while  the  true  subject  follows  in  a  succeeding  clause. 

In  most  such  cases  the  second  clause  either  begins  with  the 
conjunction  that*  or  commences  with  an  infinitive  mood.  In 
the  following  example,  the  second  and  third  phrases  are  subjects 
commencing  with  that. 


may  be  one  thing, 


<  Let  it  be  once  understood, 

{that  your  government 
and  their  privileges     another  ; 
/  [tion. 

<  that  these  two  things      may  exist  -  without  any  mutual  rela- 


Ftion. 


*  We  call  the  word  that  a  conjunction  in  this  and  other  such  cases,  in 
jordance  with  ordinary  school  grammar.     So  throughout  the  whole 
>rk,  we  employ  none  but  the  most  common  grammatical  terms.     Pred- 
icate instead  of  attribute,  is  now  established  in  schools. 


EXPOSITION     OP    THOUGHT. 

In  the  following  example,  the  first  phrase  is  a  suspending 
clause ;  the  second  is  the  predicate,  and  the  third  and  fourth 
are  subject  clauses,  commencing  with  the  infinitive  mood. 

/  Had  Cromwell's  ambition 

I  been  of  an  impure,     or  selfish  kind, 

|  it  would  have  been  easy  for  him, 

{[large  scale, 
to  plunge  his  country      into  continental  hostilities,      on  a 

f  and  to  dazzle     the  restless  factions  -  which  he  ruled, 

t  by  the  splendor  -  of  his  victories. 

MACAULAY. 

[by  crimes, 
<  Does  it  become  the  duellist,      whose  life      is  measured  out 

( to  be  extreme  to  mark,     and  punctilious  to  resent, 
I  whatever  is  amiss     in  others? 

Suspending  clauses  are  among  the  most  common 
forms  of  phrases.  They  take  two  forms ;  either  that  of 
the  case  absolute  with  a  participle ;  or  that  of  clauses  be- 
ginning with  suspending  conjunctions  or  adverbs,  such 
as  if,  although,  when,  while,  notwithstanding,  as  long  as, 
and  numerous  others. 

These  clauses  often  require  to  be  subdivided  according  to 
the  distinctions  of  subject  and  predicate,  circumstance,  and 
other  principles  by  which  whole  sentences  are  divided.  When 
they  are  long,  their  very  length  often  produces  a  rhetorical  ef- 
fect of  giving  great  animation  and  force;  a  striking  instance  of 
which  may  be  observed  in  the  extract  on  p.  46,  beginning  with 
"  instead  of  a  long  and  bloody  war,"  &>c. 


CIRCUMSTANCE.  213 

The  following  example  exhibits  a  clause  formed  by  the  case 
absolute.  Each  of  the  phrases  contains  a  subject  and  predicate 
of  its  own. 

The  campaign      being  ended, 

the  two  -  contending  -  armies      retired  -  from  the  field. 

The  next  exhibits  a  clause  introduced  by  a  suspending  ad- 
verb. It  will  be  observed  that  the  third  phrase  is  the  true  sub- 
ject of  the  second,  according  to  the  principle  we  have  last  illus- 
trated. 

Until  public  opinion      be  propitiated,      or  satisfied, 
it  is  in  vain      for  power, 

to  talk      either  of  triumphs      or  of  repose. 

WEBSTER. 

A  very  common  principle  in  the  formation  of  separate 
phrases,  is  that  of  a  clause  expressing  a  circumstance. 
Such  generally  begin  with  a  preposition. 

The  following  passage  consists  of  three  sentences,  each  be- 
ginning with  a  circumstance  taken  out  of  the  predicate  and 
placed  first.  The  next  example  is  of  the  same  construction. 
The  phrases  which  consist  of  a  circumstance,  will  be  marked 
by  the  letter  c. 

c.  Under  what  other  auspices      than  Christianity, 

have  the  lost  -  and  subverted  -  liberties  -  of  mankind, 
in  former  ages,      been  reasserted  1 

c.  By  what  zeal,      but  the  warm  zeal  -  of  devoted  Christians, 
have  English  liberties 

been  redeemed      and  consecrated  ? 
19 


214  EXPOSITION     OF    THOUGHT. 

c.  Under  what  other  sanctions, 
c.  even  in  our  own  days, 

have  liberty  -  and  happiness 
f  been  extending  -  and  spreading, 
to  the  utmost  corners      of  the  earth  ? 


ERSKINE. 


c.  By  doing  -  our  several  duties      in  our  allotted  stations, 
we  are  sure  -  that  we  are  fulfilling      the  purposes  -  of  our 

[existence. 
ERSKINE. 

The  following  sentence  begins  and  ends  with  a  phrase  ex- 
pressing a  circumstance. 

c.  With  such  encouragement, 

how  inexcusable      is  the  negligence, 

which  suffers  -  the  most  interesting  -  and  important  -  truths, 

to  seem  heavy      and  dull, 

and  fall  ineffectual,      to  the  ground, 

c.  through  mere  sluggishness      in  their  delivery. 

WARE. 

In  the  following  passage,  the  clauses  of  circumstance  are  of 
such  frequent  occurrence,  as  seriously  to  clog  the  flow  of  the 
whole, 

c.  From  all  these  symptoms, 

Columbus  was  so  confident  of  being  near  land, 
c.  that,  on  the  evening  -  of  the  eleventh  -  of  October, 
c.  after  public  prayers  -  for  success, 


CIRCUMSTANCE.  215 

he  ordered  the  sails      to  be  furled, 
and  strict  watch      to  be  kept, 

lest  the  ship      should  be  driven  ashore,      in  the  night, 
c.  During  this  interval  -  of  suspense  -  and  expectation, 
no  man      shut  his  eyes;\ 
all      kept  upon  deck, 

f  gazing  intently 

[the  land, 

c.  j  towards  that  quarter     where  they  expected  -  to  discover  - 
[  which  had  so  long  -  been  the  object  -  of  their  wishes. 

c.  About  two  hours  -  before  midnight, 
Columbus, 

c.  standing  on  the  forecastle, 

observed  a  light,      at  a  distance, 

and  privately  pointed  it  out     to  two  of  his  people. 

DR.  ROBERTSON. 

NOTE. — In  giving  the  above  illustrations  of  phrases  formed  by  a  cir- 
cumstance, it  has  been  thought  inexpedient  to  carry  the  analysis  farther. 
Upon  strict  grammatical  principles,  every  clause  of  this  kind,  is  a  part 
either  of  the  general  subject  or  predicate.  In  the  last  example,  two  of 
them  belong  to  the  subject,  and  the  remainder  to  the  predicate.  If  how- 
ever, we  distinguish  with  still  more  accuracy,  the  two  which  belong  to 
the  subject,  beginning  as  they  do  with  a  participle,  are  not  circumstan- 
ces, but  are,  in  fact,  qualifying  clauses. 

Another  grammatical  principle  of  phrases,  is  that  of 
clauses  which  express  the  object  of  an  active  verb. 

These  mostly  take  two  forms ;  first,  they  begin  with  the  con- 
junction that ;  %  secondly,  they  commence  with  an  infinitive 
mood.  The  examples  will  illustrate  both  kinds. 


216  EXPOSITION    OF    THOUGHT. 

In  the  following  example,  the  second  clause,  beginning  with 
the  conj.  that,  is  the  object  of  the  active  adverb  say,  in  the  first 
clause. 

For  myself,      I  can  truly  say, 
that,     after  my  native  land, 
I  feel  a  tenderness      and  reverence 
for  that  of  my  fathers. 

In  the  next,  the  second,  third  and  fourth  clauses,  beginning 
with  the  infinitive  mood,  are  the  objects  of  the  active  verb  re- 
quest. 

<  Let  me  request  you 

<  to  rely      on  the  plighted  faith      of  your  country, — 

\  to  pi  ace  a  full  confidence     in  the  purity  -  and  intentions  -  of 

[Congress, — 
'  and  to  assure  yourselves 

that  they  will  adopt      the  most  effectual  measures  -  in  their 

[power, 
to  render  ample  justice  to  you, 

for  your  faithful      and  meritorious      services. 

In  this  last  example,  the  second  line  of  the  fourth  phrase,  be- 
ginning with  that,  is  another  instance  of  the  same  principle, 
being  the  object  of  assure  in  the  preceding  line. 

But  without  any  different  construction,  long  predicates  are 
often  subdivided  into  two  phrases,  on  the  principle  of  separating 
the  object  of  the  active  verb. 

This  must  always  be  done  when  the  objective  case  has  a 
qualification  appended  to  it  by  a  relative ;  as  in  the  following  : 


APPOSITION.  217 

This  reasoning      exposes  to  scorn, 

every  argument      which  would  confound  -  indictments  -  with 

[civil  actions. 

In  the  following  sentence,  there  is  an  inversion  of  the  com- 
mon order  of  arrangement ;  the  first  compound  phrase,  begin- 
ning with  how,  being  the  object  of  the  active  verbs  of  the  two 
last  phrases. 

It  will  be  observed  also,  that  in  subdividing  the  compound 
phrase,  the  second  line  is  the  object  of  vindicate  in  the  preced- 
ing one.  The  three  lines  within  an  inner  bracket,  are  a  com- 
pound circumstance,  having  the  division  of  subj.  and  pred.  for 
the  last  two  lines. 

How  -  any  man     can  rationally  -  vindicate 

the  publication  -  of  such  a  book  -  as  Paine's  Age  of  Reason, 

in  a  country 

where  the  Christian  religion, 

is  the  very  foundation  -  of  the  law  of  the  land, 

•j  I  am  totally  -  at  a  loss      to  conceive, 

•j  and  have  no  wish  -  to  discuss. 

ERSKINE. 

Another  common  principle  is  that  of  opposition.  This 
also  will  often  be  indicated  by  that  as  a  conjunction. 

In  the  second  phrase  of  the  following  example,  we  have  the 
word  affidavit  as  an  object  of  the  verb  made.  In  apposition 
with  it,  we  find  the  third,  fourth  and  fifth  compound  phrases 
each  beginning  with  that. 

19* 


L 


218  EXPOSITION    OF    THOUGHT. 

-j  Three  of  the  jurors 

made  solemn  affidavit,      in  court, 

that  liquor      had  been  conveyed  -  into  their  box;\ 

that  they  had  been  brutally  threatened,      by  some  of  their 

[fellow  jurors, 
with  capital  prosecution, 

if  they  did  not  find  the  prisoner  •  guilty  ; 
and  that,  under  the  impression      of  those  threats, 
and  worn  down      by  watching  and  intoxication, 
they  had  given  a  verdict      of  guilty      against  him, 
though  they  believed  him      in  their  conscience, 
to  be  innocent. 

CURRAN. 

In  a  rhetorical  style,  however,  one  of  the  most  common  modes 
of  putting  clauses  in  apposition,  is  that  of  repeating  the  same 
word  and  following  it  with  a  similar  construction ;  as  is  exempli- 
fied by  the  repetition  of  all  in  the  first  two  phrases  of  the  follow- 
ing passage. 

The  second  phrase  is  subdivided  by  the  two  qualifications  of 
the  noun  minds.  The  third,  fourth  and  fifth  phrases  are  quali- 
fications of  all,  &c.,  in  the  first  phrase.  The  last  two  lines 
make  separate  phrases,  for  the  sake  of  impressiveness  in  winding 
off  the  period. 

Thus  you  find     all  that  is  great,     or  wise,     or  splendid,     or  il- 
[lustrious,     amongst  created  beings, 

!all  the  minds      gifted  beyond  ordinary  nature, 
if  not  inspired,     by  their  Universal  Author,     for  the  advance- 
[ment  -  and  dignity  •  of  the  world, 


PARALLEL    CONSTRUCTION.  219 

{though  divided      by  distant  ages, 
and  by  the  clashing  opinions      distinguishing  them  -  from 

[one  another, 
yet  joining,  -  as  it  were,      in  one  sublime  chorus, 

to  celebrate  -  the  truths  -  of  Christianity  ;\ 
and  laying  -  upon  its  holy  altars, 

the  never  fading  offerings     of  their  immortal  wisdom. 

ERSKINE. 

A  parallel  construction,  which  is  generally  indicated 
in  punctuation  by  a  dash,  is  occasionally  a  principle  of 
phrases. 

The  grammatical  arrangement  may  be  that  of  apposition, 
either  of  subject  or  object ;  or  it  may  exhibit  an  ellipsis.  Vide 
pp.  56,  57. 

The  following  shows  an  ellipsis  in  the  last  two  phrases. 

The  infidel      has  no  conscience — 
no  hope      to  cheer  him — 
no  punishment      to  dread. 

The  next  illustrates  apposition. 
Upon  this,      and  this  only, 

that  he  believes      there  is  a  just  and  omnipotent  God — 
an  intelligent      supreme     Existence. 

In  this  example,  the  second  phrase  is  in  apposition  with  the 
first,  and  the  third  with  the  second.  Vide  pp.  56,  57. 

It  will  be  noticed  that  many  of  our  examples  are  from  Ers- 
kine,  the  most  magnificent  orator  of  the  English  bar.  His 
style  is  an  admirable  illustration  of  the  most  natural  construction 
of  periods,  in  glowing  extemporaneous  delivery.  It  is  a  total 


220  EXPOSITION    OF    THOUGHT. 

mistake  to  imagine  that  free  extemporaneous  speaking  naturally 
runs  in  short  periods.  We  will  conclude  the  chapter  with  a 
splendid  passage,  which  consists  of  a  single  sentence  built  up  by 
successive  phrases  perpetually  varying  in  length,  and  united  by 
the  simplest  and  most  obvious  constructions. 

At  a  time      when  the  charges  -  against  Mr.  Hastings 
were,  by  the  implied  consent  -  of  the  Commons, 

in  every  hand,     and  on  every  table ; — 

when,  by  their  managers,      the  lightning  -  of  eloquence 

was  incessantly  consuming  him, 

and  flashing  -  in  the  eyes  -  of  the  public; — 

when  every  man      was,  with  perfect  impunity, 

saying,      and  writing,      and  publishing, 

just  what  he  pleased, 

of  the  supposed  plunderer  -  and  devastator  -  of  nations; — 
r  \ 

4<  would  it  have  been  criminal     in  Mr.  Hastings  -  himself? 

5 1  to  have  reminded  -  the  public 


r  \ 

6<  that  he  was  a  native  -  of  this  free  land, 

\ 
7<  entitled  -  to  the  common  protection  -  of  her  justice, 


6 


\ 


and  that  he  had  a  defence,     in  his  turn,     to  offer  to  them,\ 


'  the  outlines  -  of  which 
9^ 

.  he  implored  them,      in  the  meantime,      to  receive, 


INFLE  XIONS.  221 

as  an  antidote     to  the  unlimited     and  unpunished     poison 

in  circulation  -  against  him. 

ERSKINE. 

In  the  above,  the  commencement  of  each  of  the  first  three 
phrases  is  indicated  by  the  word  when — at  the  beginning  of  the 
fourth,  we  instantly  notice  the  discontinuance  of  the  repetition 
of  when,  and  commence  the  interrogation — the  relation  of  the 
fifth  clause  to  the  fourth  is  indicated  by  the  infinitive  mood — 
the  relation  of  the  sixth  is  shown  by  the  conj.  that — the  seventh 
is  in  a  construction  of  parallelism  with  the  sixth  ;  entitled  agree- 
ing with  native — the  relation  of  the  eighth  is  indicated  by  its 
two  conjunctions — the  ninth  is  connected  by  a  relative — the 
tenth  by  a  conjunction. 

Guided  by  such  connecting  words  and  constructions  at  the 
beginning  of  each  clause,  the  mind  of  a  reader  instinctively  di- 
vides periods  of  every  description  into  their  constituent  phrases 
of  utterance. 


CHAPTER  II. 

INFLEXIONS. 

IN  analyzing  the  mental  acts  which  take  place  in  utterance, 
we  have  found  that  after  conceiving  words,  and  employing  them 
in  groups,  the  next  step  is  to  proceed  by  phrases;  each  of  which 
forms  the  whole,  or  a  constituent  division  of  a  grammatical 
clause. 

These  phrases  are  the  actual  weapons,  so  to  speak,  by  which, 
in  delivery,  we  operate  on  the  minds  of  auditors.  Each  con- 
veys a  combination  of  ideas,  or  a  brief  course  of  thought,  which 
possesses  a  true  unity,  and  makes  but  a  single  impression  on 
the  mind. 


EXPOSITION     OF    THOUGHT. 

Grammatically  considered,  their  relations  to  each  other  are 
indicated  by  connecting  words,  and  by  constructions  which  are 
essential  to  the  very  existence  of  language.  But  in  addition  to 
these,  spoken  language  has  certain  modifications  of  the  voice, 
which  still  farther  explain  the  mutual  relations  of  thought. 
Such  modifications  are  called  inflexions. 

This  term  has  been  understood  to  designate  certain  upward 
and  downward  turns  of  the  voice  in  pitch.  But  when  first  in- 
troduced as  a  technical  term,  the  actual  changes  of  pitch  which 
take  place  in  utterance,  had  been  but  imperfectly  analyzed; 
consequently  its  application  has  been,  even  to  the  present  pe- 
riod, so  vague  and  uncertain,  that  in  a  scientific  analysis,  like 
that  of  Dr.  Rush,  it  deserves  to  be  wholly  rejected.  The  ear- 
lier writers  did  not  know  that  each  syllable  of  a  word  has  a  sep- 
arate and  independent  pitch.  They  supposed  that  an  entire 
polysyllabic  word  slides  up  or  down  by  a  continuous  progress. 

For  a  detailed  refutation  of  this  fundamental  error,  we  must 
refer  to  the  works  of  Dr.  Rush,  or  Professor  Day.  The  plan  of 
the  present  treatise  being  chiefly  to  explain  the  natural  impulses 
and  effects  of  the  mind,  in  communicating  thought,  a  complete 
vocal  analysis  is  unnecessary.  In  continuing  to  proceed  on 
this  plan,  it  will  be  convenient  to  retain  the  use  of  the  establish- 
ed term  inflexion. 

Our  present  subject  is  very  extensive,  comprehending  no  less 
than  all  the  turns  of  voice,  which  may  be  employed  to  express 
the  relations  between  ideas  contained  in  different  clauses  of  the 
same  sentence.  The  methods  by  which  ideas  may,  by  inflex- 
ions, be  connected,  contrasted  and  stated  in  reference  to  each 
other,  are  even  more  numerous,  than  the  variations  in  these  re- 
spects, which  may  be  effected  by  employing  different  connecting 
words  and  grammatical  constructions,  great  as  is  the  number  of 
these. 

In  very  many  cases,  it  is  not  by  changing  its  grammatical 
construction,  that  the  wording  of  a  sentence  can  be  made  to 


INFLEXIONS.  223 

supersede  the  necessity  of  inflexions.  To  accomplish  this  ob- 
ject, additional  and  explanatory  words  must  be  introduced.  If 
these  are  carefully  selected  and  are  sufficiently  numerous,  it  is 
indeed  possible  to  supersede  all  necessity  of  explanatory  inflex- 
ions ;  but  the  style  of  composition  will  by  this  process,  be  liable 
to  become  too  diffuse  and  full.  What  the  celebrated  critic  Jef- 
frey calls  a  written  style,  is  distinguished  chiefly  by  having  less 
necessity  for  inflexions  than  the  more  elliptical  and  irregular 
construction  of  extemporaneous  oratory,  of  conversation,  and  of 
the  drama. 

It  is  obvious  that  a  discussion  which  should  undertake  to  ex- 
haust the  subject  of  inflexions,  would  require  an  entire  vol- 
ume, rather  than  a  single  chapter. 

Rules  for  invariably  appropriating*  particular  inflexions  to 
certain  grammatical  combinations,  are  worse  than  useless.  Not 
an  example  can  be  found  in  any  of  the  older  books  of  elocution, 
which  may  riot  with  propriety  be  read  in  a  manner  opposite  to 
that  which  is  directed.  All  that  is  necessary  for  so  doing,  is 
for  the  reader  to  present  the  idea  conveyed  by  the  example,  in  a 
different  light  from  that  contemplated  by  the  constructor  of  the 
rule. 

It  would  seem  at  first  sight,  as  if  rules  for  inflexions  ought  no 
more  to  be  needed  in  reading  or  speaking,  than  in  conversation. 
If  we  understand  passages  aright,  and  make  instinctive  efforts 
to  convey  our  apprehension  of  them  to  others,  our  voices  (if  not 
fettered  by  previous  bad  habits)  will  as  infallibly  make  use  of  the 
required  inflexions,  as  our  articulating  organs  will  enunciate 
the  words. 

Still  farther,  it  is  no  more  necessary  for  us  to  know  what  pre- 
cise changes  of  pitch  our  voices  exhibit  in  any  one  inflexion, 
than  in  the  case  of  articulation,  to  watch  the  minute  changes 
of  position  made  by  the  lips,  teeth  and  tongue. 

But  as  the  same  objections  are  applicable,  in  a  greater  or  less 
degree,  to  giving  information  in  regard  to  other  instinctive  acts 


224  EXPOSITION    OF    THOUGHT. 

which  occur  in  delivery,  and  as  without  some  analysis  of  these, 
there  can  be  no  study  of  elocution,  it  will  be  necessary  to  pre- 
sent a  general  account  of  inflexions,  upon  the  plan  of  treatment 
pursued  throughout  the  volume.  Still  we  shall  avoid  laying 
down  precise  and  invariable  rules. 

In  our  examples  for  practice,  we  have  from  the  first  employ- 
ed the  marks  commonly  used  for  indicating  inflexions,  because 
some  guide  is  necessary  for  purposes  of  practice,  and  to  enable 
the  student  to  go  along  readily  with  the  teacher.  Many  how- 
ever have  been  inserted,  rather  in  accordance  with  the  custom 
of  other  books  of  elocution,  and  to  prevent  possible  mistakes, 
than  because  they  are  strictly  necessary.  Experience  in  using 
the  volume  may  hereafter  lead  to  an  omission  of  a  considerable 
number. 

When  a  mark  of  inflexion  is  put  over  a  word,  it  indicates  the 
general  effort  of  the  mind  and  voice  upon  the  word,  or  upon  the 
phrase  in  which  it  occurs,  rather  than  the  exact  degree  of  rise 
or  fall  in  pitch.  The  latter  cannot  be  exhibited  to  the  eye,  ex- 
cept by  a  notation,  which  like  that  of  music,  exhibits  the  pitch 
of  each  separate  syllable, — while  even  this  will  not  of  itself  be 
sufficient.  In  music,  notes  do  not  often  slide  up  or  down,  to 
an  extent  that  is  deserving  of  regard.  But  in  speech,  each  syl- 
lable not  only  begins  with  a  distinct  and  independent  pitch,  but 
after  having  thus  begun,  has  always  a  slide.  The  slide  may  be 
either  simply  up  or  down,  or  may  be  first  in  one  direction  and 
then  in  another.  Still  farther,  the  distance  to  which  the  slide 
may  rise  or  fall,  is  of  several  distinct  degrees,  each  of  which 
conveys  a  separate  meaning  or  expression. 

In  short,  an  inflexion  is  a  change  in  pitch,  in  which 
the  voice  first  skips  up  or  down,  and  then  slides  up  or 
down. 

The  skip  may  be  to  several  different  distances,  and  so 
may  the  subsequent  slide. 


FALLING     INFLEXIONS.  225 

The  slide  may  likewise  be  first  in  one  direction,  and 
then  in  the  other ;  thus  producing  what  are  called  waves 
or  circumflexes. 

This  waving  course  may  even  be  continued  through  several 
repetitions  of  upward  or  downward  progress. 

Thus  the  actual  number  of  inflexions  employed  by  the  voice, 
is  very  great.  Instead  of  three,  as  formerly  supposed,  there  can 
scarcely  be  less  than  three  hundred. 

It  will  be  easy  however,  to  reduce  them  for  practical  purpos- 
es, to  three  classes,  and  it  is  to  a  class,  rather  than  to  any  one 
of  the  variations  of  pitch,  that  we  apply  the  term  inflexion. 

Inflexions,  then,  are  of  three  kinds  :  1.  rising  ;  2.  fall- 
ing ;  3.  falling  and  rising,  or  circumflex. 

This  old  classification,  does  in  truth  correspond  to  the  dis- 
tinctions which  we  recognize  in  our  minds,  and  to  the  instinctive 
vocal  efforts  which  we  make  to  set  forth  the  relations  of  ideas. 

The  explanation  of  them  will  be  rendered  more  readily  in- 
telligible, if  we  begin  with  the  falling  inflexions. 

FALLING    INFLEXIONS. 

As  a  principle  is  often  best  illustrated  by  an  extreme  case, 
we  will  commence  explaining  the  general  class  of  falling  inflex- 
ions, by  a  description  of  Cadences. 

Every  one  knows  that  a  cadence  at  the  end  of  a  sentence,  in- 
dicates a  close  of  the  course  of  thought ;  and  that  after  it  there 
is  always  a  pause,  and  an  interruption  for  the  time,  of  the  on- 
ward progress  of  the  mind. 

This  interruption  or  check,  is  the  true  principle  of  every  fall- 
ing inflexion.  For  the  present,  however,  we  shall  speak  only  of 
cadences,  and  of  inflexions  at  the  ends  of  phrases. 

In  every  case  of  a  falling  inflexion  on  a  strongly  emphatic 
word,  there  is  at  least  a  mental  pause ;  and  if  the  delivery  is  very 

20 


226  EXPOSITION    OF    THOUGHT. 

slow  and  forcible,  a  vocal  pause  will  also  become  strikingly 
manifest.  If  the  vocal  pause  does  not  come  in  immediately  at 
the  end  of  the  word  which  receives  the  inflexion,  it  will  still 
occur  at  the  end  of  the  group,  or  at  farthest,  of  the  phrase. 

When  a  falling  inflexion  is  used,  the  mind  ceases  for  the 
time  being  to  look  forward,  and  to  employ  ideas  solely  in  refer- 
ence to  subsequent  ones. 

Either  a  simple  close  or  termination  of  a  course  of  thought, 
and  its  independence  of  what  is  to  follow,  is  indicated ;  or  the 
truth  and  importance  of  an  idea,  is  affirmed  and  particularly 
pointed  out. 

In  the  latter  case,  the  voice  always  leaps  up  to  a  higher  pitch 
on  the  accented  syllable,  so  as  to  make  the  falling  inflexion  be- 
gin from  a  higher  point. 

We  have  thus,  at  the  ends  of  phrases,  two  kinds  of 
falling  inflexions ;  one,  moderate  and  quiet,  and  which 
conveys  no  impression  but  that  of  simple  termination  of 
thought ;  the  other,  striking,  and  calculated  particularly 
to  attract  the  attention  of  the  listener. 

This  will  be  best  illustrated  by  a  single  example,  read  or  spo- 
ken in  different  styles.  Let  us  take  the  first  sentence  in  our 
first  extract,  (p.  45.) 

"I  make  the  assertion  deliberately. "\ 

Here  the  mark  for  the  falling  inflexion,  placed  after  the  word, 
indicates  a  mere  cadence,  such  as  any  one  will  naturally  make 
when  the  full  stop  occurs  in  punctuation.  If  the  delivery  is 
impressive  or  solemn,  and  the  word  "  deliberately"  is  uttered 
with  great  earnestness,  yet  without  a  striking  and  peculiarly 
animated  tone,  it  will  still  keep  the  same  pitch,  but  will  be 
dwelt  upon  in  such  a  way  as  to  prolong  the  syllables  and  make 
the  articulation  particularly  distinct.  The  tone  of  voice  will 
be  strong  and  heavy.  For  our  immediate  purpose,  we  may  in- 
dicate this  by  the  following  mode  of  printing: 


FALLING     INFLEXIONS. 


227 


I  make  the  assertion  deliberately.\ 


But  if  the  same  word  be  uttered  with  striking  animation,  and 
especially  if  with  lively  earnestness,  the  accented  syllable  will 
begin  on  a  higher  pitch.  The  falling  inflexion  will  start  from 
a  higher  point.  Thus  : 

\ 

I  make  the  assertion  de   *    erately. 

This  style  of  utterance  may  also  be  united  with  emphatic 
force — that  is,  with  a  sudden  loudness  and  an  expulsive  utter- 
ance, such  as  we  have  already  explained  in  part  first,  chap.  6. 
This  we  may  represent  by  printing  the  word  in  italics,  but  with 
the  same  arrangement  of  its  syllables. 

\ 
I  make  the  assertion  de    l    erately. 

This  mode  represents  the  course  of  the  voice  in  emphatic  fall- 
ing inflexions.  But  as  it  would  be  inconvenient  and  unsightly 
to  print  whole  examples  with  such  a  displacement  of  the  sylla- 
bles, we  indicate  such  forms  of  emphasis  simply  as  follows  : 

\ 
I  make  the  assertion  deliberately. 

That  is,  the  word  is  printed  in  italics,  to  indicate  emphatic 
force,  while  the  mark  for  the  falling  inflexion  is  placed  over  the 
word,  and  (as  nearly  as  convenient)  over  its  accented  syllable. 

If  capitals  are  employed  instead  of  italics,  they  indicate  a  still 
higher  degree  of  force,  earnestness  and  slowness. 

Some  examples  however,  have  the  falling  inflexion  placed 
over  a  word  which  is  not  in  italics  or  capitals.  This  indicates, 
that  although  the  word  is  not  distinguished  by  any  considerable 
degree  of  force  or  loudness,  yet  it  is  uttered  with  a  lively,  or 
peculiarly  pointed  expression,  by  beginning  its  accented  sylla- 
ble on  a  higher  pitch,  as  we  have  just  explained. 

So  far,  then,  we  have  two  extremes  of  the  falling  inflexion; 
one,  that  of  a  common  cadence — -either  impressive  and  earnest, 


228  EXPOSITION     OF    THOUGHT. 

or  quiet  and  moderate,  which  we  indicate  by  placing  the  mark 
of  inflexion  after  the  word  ;  the  other,  either  simply  striking,  or 
striking  and  with  emphatic  force,  which  has  the  mark  placed 
over  the  accented  syllable.  These  are  the  most  common  and 
important  uses  of  the  falling  inflexion. 

There  is  however,  still  another  modification,  which  expresses 
an  important  distinction,  and  which  is  easily  represented  in 
printing.  It  is  when  a  short  and  yet  lively  and  animated  ca- 
dence is  to  be  made  at  the  end  of  a  clause,  but  before  the  en- 
tire sentence  is  finished.  In  such  situations,  a  cadence  of  some 
sort  is  demanded,  yet  if  the  voice  is  suffered  to  descend  as  low 
as  in  a  full  cadence  at  the  end  of  a  complete  period  or  para- 
graph, the  effect  will  be  to  divide  the  whole  into  two  separate 
sentences.  This  error  will  not  indeed  affect  the  meaning,  yet 
it  will  injure  the  expression  and  seriously  detract  from  the  cor- 
rectness of  the  composition,  so  far  as  this  is  judged  by  the  ear. 

The  following  example  consists  of  two  separate  sentences, 
united  by  the  conjunction  and,  and  with  a  semicolon  between 
them. 

It  is  to  the  genius  -  of  James  Watt, 

that  all  the  benefits  -  of  the  steam  engine 

\ 
are  mainly  owing ; 

and  certainly      no  man 
ever  before, 

bestowed  such  a  gift     on  his  kind.\ 

JEFFREY. 

In  this  example,  it  is  obvious  that  the  cadence  at  the  semi- 
colon, ought  not  to  be  as  low  as  that  at  the  full  stop.  In  fact, 
the  word  owing  ought  to  be  a  little  higher  than  the  preceding 
word.  This  cadence  on  a  higher  key  is  indicated  by  placing 
the  mark  of  inflexion  over  the  tcord,  yet  not  over  its  accented 
syllable. 


FALLING    INFLEXIONS.  229 

Thus  at  the  ends  of  phrases  or  sentences,  the  mind  ex- 
presses the  close  of  a  course  of  thought,  and  its  inde- 
pendence of  what  follows,  by  falling  inflexions,  either 
high  and  animated,  or  low  and  quiet  or  impressive. 

High  and  animated  cadences  are  represented  by  pla- 
cing the  mark  for  the  falling  inflexion  over  the  accented 
syllable  of  the  final  word  or  group. 

Those  that  are  low,  and  quiet  or  impressive,  have  the 
mark  after  the  last  word. 

Cadences  on  a  high  pitch,  and  occurring  in  the  middle 
of  a  sentence,  have  the  mark  over  the  word,  but  not  over 
its  accented  syllable. 

This  sort  of  cadence  is  often  required  also  at  the  end  of  a  very 
short  sentence,  when  although  pointed  with  a  full  stop,  it  has  a 
close  connexion  in  thought,  with  the  succeeding  sentence. 

If  the  word  on  which  the  cadence  falls  is  emphatic, 
the  emphasis  is  indicated  by  italics  or  capitals. 

But  in  a  large  proportion  of  cases,  it  happens  that  a  falling 
inflexion  is  required  on  a  word  that  does  not  stand  last  in  the 
grammatical  clause,  or  even  in  the  phrase. 

In  such  cases  however,  the  principle  is  precisely  the  same. 
The  mind  points  out  the  word  so  particularly  to  the  attention 
of  the  hearer,  that  its  onward  progress  is  at  least  checked,  if  not 
altogether  interrupted.  This  is  done,  although  the  actual  pause 
may  not  occur  until  the  end  of  the  group,  or  perhaps  of  the 
phrase. 

^\\i  falling  inflexions  not  at  the  end  of  a  phrase,  are 
never  given,  except  upon  emphatic  ivords.  This  impor- 
tant fact  makes  their  theory  easy  of  apprehension. 

Almost  every  case  of  a  falling  inflexion  on  an  emphatic  word 
may  be  referred  to  the  principle  of  pointed  designation.  The 

20* 


230  EXPOSITION    OF    THOUGHT. 

reader  or  speaker  affirms  the  truth  of  what  is  uttered,  and  par- 
ticularly points  out  the  most  important  word  in  the  whole  series. 
.  Hence,  answers  to  questions  are  given  with  falling  inflexions. 
In  argument,  the  same  inflexion  is  given  on  what  is  affirmed. 
So  likewise,  in  narrative,  all  the  most  important  circumstances 
are  pointed  out  by  the  same  means. 

Emphatic  words  with  the  falling  inflexion,  are  naturally  ac- 
companied, in  gesture,  by  the  downward  stroke  of  the  arm.  If 
we  reflect  a  little  on  that  sort  of  mental  pause,  and  that  stopping 
momentarily,  to  dwell  on  the  truth  and  importance  of  an  idea 
which  we  enforce  with  this  gesture,  such  reflection  will  contrib- 
ute still  farther,  to  make  the  true  significance  and  intention  of 
the  falling  slide  of  the  voice  clearly  intelligible. 

The  truth  and  completeness  of  the  above  short  theory  of  the 
falling  inflexion  on  emphatic  words,  will  be  exemplified  by  the 
following  extracts,  especially  if  they  are  supposed  to  be  spoken 
rather  than  read,  and  each  emphasis  to  be  accompanied  by  its 
appropriate  gesture. 

They  tell  us,      Sir, 

\ 
that  we  are  weak, — 

\ 

unable  to  cope      with  so  formidable  an  enemy.  \ 

I  know  there  is  not  a  man  here, 

\ 
who  would  not  rather     see  a  general  conflagration     sweep  over 

\  [the  land,\ 

or  an  earthquake      sink  it,\ 

\ 
than  one  jot  -  or  tittle 

of  that  plighted  faith, 
fall  to  the  ground.  \ 


FALLING    INFLEXIONS.  231 

\ 

I  hear  much  said      of  patriotism, 

\ 
appeals  to  patriotism, 

\ 
transports      of  patriotism.  \ 

Gentlemen, 

\ 

why  prostitute      this  noble  word  ?\ 

There  are  some  cases,  however,  of  falling  inflexions,  which 
may  seem  not  so  readily  explicable  by  the  above  simple,  yet 
comprehensive  account;  such  as  when  they  are  employed  to 
express  command,  exhortation,  rebuke  and  contempt.  The 
following  are  examples. 

\  \ 

Come ;      let  us  go. 

\ 
This  fellow      had  a  Volscian  for  his  mother ;  \ 

\  \ 

his  wife      is  in  Corioli ; 

\ 
and  this  child, 

\ 
like  him      by  chance. 

SHAKESPEARE. 

Astonishment,  surprise,  wonder  and  admiration,  express 
themselves  also  by  strong  falling  inflexions.  E.  g. 

\ 
I  am  astonished! 

\ 
shocked, 

to  hear  such  principles  confessed.  \ 

\ 
How  wonderful, 

that  a  nation      should  be  thus  deluded  !\ 


232  EXPOSITION     OF     THOUGHT. 

But  a  little  reflection  will  enable  us  readily  to  perceive,  that 
in  uttering  such  emotions,  the  mind  pauses  and  stops  to  con- 
template the  ideas  which  excite  them.  The  expression  how- 
ever, of  emotion  and  passion,  is  never  given  by  inflexions  mere- 
ly. Additional  variations  of  the  voice  in  stress  and  quality  of 
lone  are  required,  and  these  must,  in  general,  be  left  to  the 
promptings  of  feeling. 

RISING   INFLEXIONS. 

In  these  the  voice  slides  upwards;  and  as  the  direction  of 
their  slide  is  precisely  opposite  to  that  of  falling  inflexions,  so 
their  significancy,  and  the  use  which  the  mind  makes  of  them, 
are  of  a  contrary  nature. 

As  falling  inflexions  either  express  the  termination  of  a  course 
of  thought,  or  an  interruption  of  the  mental  act  of  looking  for- 
ward to  other  ideas,  so  the  rising  imply  that  no  complete  sense 
has  yet  been  made,  or  that  the  mind  does  not  stop  to  contem- 
plate an  idea  independently  of  some  other. 

A  rising  inflexion,  then,  expresses  a  continuation  of  thought, 
and  gives  warning  that  something  more  is  to  follow.  Or,  if 
given  emphatically  on  a  single  word  in  the  middle  of  a  phrase, 
it  indicates  that  the  idea  is  contemplated  not  by  itself,  but  in 
reference  to  something  else. 

Inflexions  of  this  class  are  thus  of  much  more  frequent  oc- 
currence than  the  others.  At  the  far  greater  part  of  the  pauses 
in  discourse,  the  interruption  of  continuity  is  principally  for 
mental  and  physical  convenience.  As  the  mind  proceeds  in 
building  up  the  structure  of  a  long  sentence,  it  rests  after  short 
portions  of  its  work,  and  when  about  to  pause,  leaves  off  with 
an  upward  turn  of  voice,  to  indicate  that  the  sense  is  still  sus- 
pended, and  that  more  ideas  are  to  follow. 

In  illustration  of  this  suspensive  expression  at  a  pause,  take 
the  following  two  clauses,  which  are  connected  into  a  single 
sentence  by  the  conjunctions  as  and  so. 


RISING    INFLEXIONS.  233 

/ 

As  face      answereth  to  face      in  water, 
so  the  heart  of  man     to  man.\ 

The  moment  a  reader  begins  this  sentence,  the  conjunction  as 
warns  him  that  the  clause  which  it  introduces,  will  make  no 
complete  sense  of  itself,  but  will  require  to  be  followed  by  an- 
other one  beginning  with  so.  He  will  therefore  avoid  making 
a  cadence  at  the  end,  and  will  leave  the  sense  suspended  by  a 
rising  inflexion.* 

Since,  then,  rising  inflexions  of  some  sort  occur  at  every 
pause  in  which  no  complete  sense  is  made,  and  these  pauses 
are  by  far  the  most  numerous,  it  is  obvious  that  to  mark  them 
all  would  create  unnecessary  confusion  to  the  eye.  Yet  this 
error  is  quite  prevalent  in  books  for  instruction  in  reading.  As 
already  observed,  we  have  probably  marked  too  many  in  our  vol- 
ume. Yet  when  not  required  for  expression,  most  of  them  have 
been  placed  in  situations  In  which  unpractised  readers  might 
be  liable  to  make  mistakes.  Sometimes  also  they  have  been 
inserted  to  show  the  antithetical  balance  of  one  phrase  with  an- 
other, and  to  assist  in  apprehending  the  rhetorical  structure  of 
the  style. 

The  directions  sometimes  given  in  books  for  schools,  which 
imply  that  the  common  marks  of  punctuation  are  guides  for  in- 
flexion, are  extremely  injurious.  In  accordance  with  habits 

*  We  have  uniformly  avoided  laying  down  any  rules  of  reading,  as 
absolutely  invariable.  Falling  inflexions  may  in  almost  every  case  be 
substituted  for  rising  ones,  when  particular  styles  of  expression  require 
it  to  be  done.  In  the  above  example,  suppose  the  mind  wishes  to  point 
out  in  a  manner  calculated  to  attract  particular  attention,  the  illustration 
efface  answering  to  face  in  water,  the  reading  will  then  be  with  a  Hilling 
inflexion  on  water,  but  with  an  upward  skip  on  the  accented  syllable. 
This  upward  skip,  in  such  a  case,  answers  the  purpose  of  the  upward 
slide  of  a  rising  inflexion,  at  the  same  lime  that  the  downward  slide  de- 
signates the  importance  of  the  word  water. 


234  EXPOSITION     OF    THOUGHT. 

thus  formed,  ihe  reading  proceeds  with  an  upward  turn  of  the 
voice  at  every  comma.  Thus  most  of  the  sentences,  in  every 
variety  of  style,  will  be  read  in  violation  of  their  real  meaning, 
and  if  the  listener  understands  them  at  all,  he  does  so  by  a  pro- 
cess of  correcting  the  reader's  errors  and  explaining  the  sense 
to  himself.  He  either  substitutes  inflexions  different  from  those 
which  he  hears  used,  or,  more  commonly,  imagines  that  he  sees 
the  words  before  him,  and  thus  gathers  the  meaning,  as  it  were, 
by  the  eye.  Though  many  errors  result  from  making  the 
marks  of  punctuation  exclusive  guides  for  pauses,  yet  such  are 
few,  compared  with  what  proceed  from  using  them  as  direc- 
tions, not  only  for  these  but  for  inflexions. 

It  is  obvious  that  there  can  be  no  necessity  for  entering  into 
a  detailed  examination  of  the  various  forms  and  degrees  of  con- 
nection which  demand  rising  inflexions.  No  farther  directions 
are  needed  for  practical  purposes,  than  the  following. 

In  reading  let  the  mind  l>e  on  the  watrh  for  places  in. 

which  a  falling  inflexion  is  demanded. 

These  will  be  required,  first,  to  direct  the  attention  of 
the  hearer  to  the  completion  of  a  short  course  of  thought  ; 
secondly,  to  point  out  particular  words,  the  assertion  or 
inculcation  of  which  is  of  especial  importance. 

In  all  other  cases,  let  rising  inflexions  occur  naturally 
and  unconsciously.  Even  when  a  prolonged  rising  in- 
flexion is  demanded  on  a  single  emphatic  word,  it  will 
be  natural  for  the  voice  to  slide  upwards  rather  than 
downwards,  unless  care  be  taken  to  the  contrary. 

To  use  familiar  language,  rising  inflexions  will  take 
care  of  themselves. 

The  employment  of  falling  ones,  results  always  from  intelli- 
gence on  the  part  of  the  reader  or  speaker,  and  from  an  inten- 
tional effort  to  affirm  and  explain  ideas  to  others. 


RISING     INFLEXIONS. 


235 


In  the  early  attempts  of  children  to  read,  and  in  their  decla- 
mation of  passages  committed  to  memory,  all  their  inflexions 
are  rising,  and  it  is  with  extreme  slowness  that  they  learn  to 
explain  and  designate  ideas  to  others  by  means  of  affirmative 
falling  slides.  In  teaching  a  child  to  read  or  speak,  exclusive 
attention  should  be  given  to  such  falling  inflexions  as  designate 
the  meaning. 

In  some  form  or  other,  and  at  some  previous  period,  a  prac- 
tical skill  in  reading  must  have  been  gained,  even  by  the  oldest 
students  of  delivery,  before  attempting  to  speak  what  has  been 
committed  to  memory.  If  this  order  of  study  be  not  observed, 
declamation  will  proceed  with  an  unvarying  succession  of  ri- 
sing inflexions,  which  convey  no  other  impression  than  that  of 
a  mere  recollection  by  the  declaimer,  of  the  successive  words 
and  clauses  of  his  speech. 

Yet  there  is  an  important  class  of  cases  in  which,  although 

period  is  the  appropriate  mark  of  punctuation,  arising  inflex- 
ion ought  to  be  used  at  the  end  of  the  sentence. 

These  are  when  the  sentence  requires  to  be  uttered  in  refer- 
ence to  something  else,  either  expressed  or  understood.  Let  us 
take  for  exemplification,  the  following  conversational  sentence  : 

It  is  not  very  probable, 

/ 
that  so  fair  an  offer         will  be  rejected. 

If  this  be  uttered  as  a  simple  declaration,  it  will  end  with  a 
cadence.  But  if  spoken  in  a  lively  manner,  and  with  reference 
to  a  contrary  opinion  or  idea,  viz.  that  it  is  supposed  that  "so 
fair  an  offer"  will  be  rejected,  or  if  regard  be  had  to  rejecting 
instead  of  accepting  so  fair  an  offer,  the  inflexion  at  the  end 
will  be  a  rising  one. 

The  reference  in  cases  of  this  class,  is  always  to  something 

j opposite  or  different,  which  the  mind  is  looking  forward  to,  or 

at  least  thinking  of,  at  the  time.     Very  often  it  is  some  contra- 

iry  opinion  which  is  generally  prevalent.     At  other  times,  refer- 


236  EXPOSITION  OF  THOUGHT. 

ence  is  made  to  something  which  either  has  been  said,  or  which 
it  is  intended  shall  immediately  follow.  In  some  instances  al- 
so, a  succession  of  several  very  short  sentences  is  rendered 
more  lively  and  more  closely  connected  in  meaning,  by  ending 
one  or  more  with  a  rising  inflexion,  and  thus  uniting  them  as 
much  as  possible  into  one  train  of  thought. 

For  such  reasons  common  conversation,  unless  very  grave 
and  formal,  is  remarkably  distinguished  from  reading  and  speak- 
ing, by  a  less  frequent  occurrence  of  cadences.  Civility,  social 
sympathy,  and  a  constant  reference  to  the  thoughts  and  feelings 
of  others,  lead  to  the  avoidance  of  positiveness,  and  of  assertions 
terminated  by  a  cadence.  Hesitancy,  by  preventing  the  mind 
from  coming  to  positive  conclusions,  or  by  interrupting  its  pro- 
gress towards  a  complete  arrangement  of  thought,  exhibits  lit- 
tle other  peculiarity  of  utterance  than  a  constant  interruption 
of  the  continuity  of  discourse  by  pauses  with  a  rising  inflexion; 
the  same  inflexion  occurring  even  at  the  end,  from  a  continu- 
ance of  the  uncertainty  to  the  last. 

The  system  which  we  follow  in  regard  to  the  part  of  a  word 
over  which  the  mark  for  a  rising  inflexion  is  placed,  is  this : 

When  a  phrase  ends  with  a  slight  rising  inflexion,  to 
indicate  suspension  of  sense,  or  a  rhetorical  contrast  with 
another  phrase,  the  mark  is  placed  over  the  end  of  the 
last  word. 

When  an  emphatic  final  word  has  a  rising  inflexion, 
and  the  rise  of  the  voice  is  very  striking  and  expressive, 
the  mark  is  placed  over  its  accented  syllable. 

The  mark  for  a  rising  inflexion  placed  over  an  em- 
phatic word  in  the  middle  of  a  phrase,  is  generally  over 
its  accented  syllable,  or  over  the  vowel,  in  a  word  of  one 
syllable. 

In  many  of  the  last  cases,  we  think  that  the  inflexion  actual- 
ly required  in  natural  utterance,  is  some  variety  of  the  circum- 


CONTRAST  OF  INFLEXIONS.          237 

flex — in  most  cases,  a  wave  of  the  second,  after  an  upward  skip. 
Yet  it  is  commonly  considered  as  nothing  more  than  a  strongly 
marked  rising  slide. 

In  numerous  cases,  words  which  we  mark  by  a  rising  inflex- 
ion placed  over  the  word,  ought  to  have  it  placed  under,  and 
passing  up  beyond  it,  if  such  a  position  could  be  arranged  in 
printing.  The  actual  slide  on  the  accented  syllable,  must 
often  begin  on  a  lower  key  than  that  of  the  preceding  word  or 
syllable.  Beginning  thus  after  a  downward  skip,  the  slide  ex- 
tends to  a  key  still  higher  than  that  immediately  preceding. 

CONTRAST    OF   INFLEXIONS. 

One  of  the  most  important  uses  of  inflexions,  is  to  express 
contrasts  between  ideas.  The  idea  which  the  mind  affirms, 
not  simply,  but  in  reference  to  another,  takes  a  rising,  and 
that  which  completes  the  contrast,  has  a  falling  inflexion. 

This  will  be  made  clear  by  examples : 

1.  One  of  two  things  may  be  affirmed,  and  the  other  denied. 
In  such  a  case,  what  is  affirmed,  is  asserted  as  true  of  itself, 
and  its  truth  or  falsehood  will  hold  good,  whether  the  idea  which 
is  denied  be  mentioned  or  not.  The  mind  may  stop  and  con- 
template the  truth  of  the  affirmative  for  any  length  of  time. 
E.g. 

It  will  not  snow. 

\ 

It  will  rain. 

It  will  make  no  difference  which  idea  be  first  mentioned  ; 
the  inflexions  will  still  remain  the  same.  E.  g. 

\ 
It  will  rain. 

/ 
It  will  not  snow. 

Neither,  in  earnest  or  lively  utterance,  will  the  grammatical 
construction  affect  the  inflexions.  E.  g. 

21 


238  EXPOSITION    OP    THOUGHT. 

\  / 

It  will  rain ;  and  not  snow* 

If  both  ideas  are  affirmed  in  contrast  with  each  other,  that 
which  is  mentioned  jirst,  has  a  rising,  and  the  last  mentioned, 
which  completes  the  contrast,  has  a  falling  inflexion.  E.  g. 

It  will  either  snow 

\ 

or  rain. 

Or' 

It  will  either  rain 

\ 
or  snow. 

QUESTIONS. 

In  general,  the  contrast  between  a  question  and  its  answer, 
is  expressed,  like  other  contrasts,  by  the  one  having  a  rising, 
and  the  other  a  falling  inflexion. 

More  precisely,  however,  when  a  direct  question  is  asked,  to 
which  the  answer  will  be  yes  or  no,  the  mind  of  the  person 
who  puts  the  question  remains,  after  asking  it,  in  a  state  of 
suspense,  and  does  not  rest  satisfied  till  an  answer  has  been  re- 
turned. The  answer  is  necessary,  to  complete  or  teminate  the 
course  of  thought  which  the  mind  has  entered  upon.  Or,  the 
condition  of  the  mind  at  the  close  of  a  question,  may  be  stated 
as  one  of  the  cases  before  mentioned,  in  which  the  course  of 
thought  ends  with  a  reference  to  something  that  is  to  follow. 


*  This  sentence  may  indeed  be  read  with  precisely  opposite  inflex- 
ions, e.  g.  it  will  rain,  and  not  snow.  This,  however,  as  will  readily 
be  perceived,  does  not  set  off  the  contrast  in  so  striking  a  manner.  It 
is  in  fact  a  case  of  that  substitution  of  one  inflexion  for  another,  which 
we  shall  explain  at  the  end  of  this  chapter. 


QUESTIONS.  239 

Direct  questions,  then,  which  require  yes  or  no  for  an  answer, 
end  with  a  rising  inflexion,  according  to  the  common  rule  of 
school-books. 

But  there  is  another  class  of  questions,  which  begin  with  an 
interrogative  pronoun  or  adverb,  such  as  who,  which,  what ;  or 
when,  why,  wherefore.  These  in  fact  take  the  form  of  a  com- 
mand, or  injunction.  For  example:  When  do  you  go?  is  the 
same  in  meaning  as,  Tell  me,  when  are  you  going  ? 

This  class  of  questions  take  a  falling  inflexion  on  their  em- 
phatic word.  E.  g. 

When  do  you  go?\ 

\ 
or,    When  do  you  go  1 

\ 
or,    When  do  you  go  ? 

\ 
or,    When  do  you  go  1  \ 

Indeed,  any  question  may  be  put  in  the  form  of  a  command  ; 
just  as  we  may  say,  I  ask  you  to  tell  me,  or,  I  demand  that  you 

tell  me.*     E.  g. 

\ 
Are  you  going  ? 

or,    Are  you  going  ?\ 

\ 

or,    Are  you  going  ? 

\ 
or,    Are  you  going  1 

Very  often  also,  when  an  interrogative  sentence  is  very  long, 
the  rising  tones  of  interrogation  ought  not  to  be  continued  to 
the  end,  but  falling  ones  should  be  substituted,  and  the  whole  be 
made  to  end  with  a  cadence.  Yet  in  punctuation,  the  mark  of 
interrogation  must  be  deferred  to  the  end  of  the  sentence. 

*  Our  word  demand  is  the  same  word  as  the  French  demande;  but 
in  French,  demande  means  simply  to  ask  or  inquire. 


240  EXPOSITION    OF    THOUGHT. 

When  likewise  two  questions  are  contrasted  with  each  other, 
the  contrast  is  exhibited  by  a  falling  inflexion  on  the  last ;  as, 

/          \ 
Do  you  go,  or  stay  1 

/ 
Is  Caesar  dead, 

\ 
or  is  he  living? 

Other  variations  from  the  most  common  modes  of  giving  in- 
flexions on  questions,  might  be  stated ;  as  when  the  words  of 
a  question  are  repeated,  by  the  person  of  whom  it  is  asked,  in 
order  to  be  certain  that  he  understands  the  inquiry.  E.  g. 

/  / 

When  am  I  going  1  do  you  say  ? 

But  it  is  needless  to  pursue  the  subject  of  questions  farther. 
No  practical  direction,  for  interrogative  inflexions,  is  needed,^ 
except  to  avoid  following  uniformly  any  of  the  common  rules, 
and  to  trust  implicitly  to  natural  instinct  in  reading  questions, 
just  as  is  done  in  extemporaneous  speaking. 

What  makes  the  common  rules  still  more  injurious,  is,  that 
by  directing  attention  exclusively  to  the  inflexion  at  the  end, 
they  divert  attention  from  the  INTERROGATIVE  TONE  which 
characterizes  every  word  of  the  question. 

This  interrogative  tone  running  through  the  whole, 
is  the  only  essential  requisite  in  uttering  a  question. 

Every  question  that  is  not  asked  in  a  tone  like  that  of  a  com- 
mand or  a  requisition,  is  uttered  with  a  peculiar  interrogative 
turn  of  the  voice,  on  every  syllable.  This  is  of  course  most 
conspicuous  on  the  accented  and  emphatic  syllables.  The  in- 
terrogative tone  consists  in  the  upward  slides  and  skips  being 
carried  farther  than  ordinary.  Instead  of  being  simple  seconds, 
they  are  thirds,  fifths,  or  octaves.  This  wider  reach  of  the 
skips  and  slides,  causes  the  voice  to  be  apparently  on  a  higher 
key  than  it  really  is. 


CONDITIONAL    CLAUSES.  241 

From  the  very  moment,  then,  of  beginning  an  inter- 
rogative clause,  a  natural  tone  of  asking  a  question  must 
be  made  strikingly  manifest,  and  kept  up  on  every  word. 

CONDITIONAL    CLAUSES. 

These  begin  with  conditional  or  hypothetical  conjunctions, 
such  as  if,  though,  although,  unless.  They  are  also  introduced 
by  such  words  as  suppose. 

The  peculiarity  of  tone  with  which  they  are  uttered,  was 
first  discovered  by  Dr.  Rush,  who  thus  made  a  valuable  contri- 
bution to  elocution. 

Conditional  clauses  have  a  tone  running  through  them 
similar  to  that  of  questions. 

Dr.  Rush  describes  it  as  being  precisely  the  same.  To  us  it 
seems  clearly  demonstrable  that,  while  in  questions  the  slides 
of  thirds,  fifths  or  octaves  are  exhibited  upon  every  syllable, 
conditional  clauses  exhibit  them  only  on  the  accented  syllables. 

In  teaching,  we  have  had  our  attention  perpetually  called  to 
the  injurious  effect  of  the  common  rules  in  school-books,  which 
direct  to  depend  solely  on  the  inflexion  at  the  end  of  a  question, 
for  exhibiting  its  interrogative  turn ;  such  effect  being  to  prevent 
the  natural  tone  of  interrogation  from  being  given  throughout 
the  whole.  Of  equal  importance  has  been  the  very  common 
fault  of  reading  or  speaking  conditional  clauses  without  their 
natural  and  appropriate  tone. 

The  following  example  contains  two  conditional  clauses,  the 
first  beginning  with  if,  and  the  second  with  though.  Each  of 
them  is  inclosed  within  a  bracket. 

If  the  driver  -  of  a  public  carriage 
maliciously  overturn  another      upon  the  road, 

whilst  the  proprietor       is  asleep  -  in  his  bed      at  a  hundred 

[miles  distance, 
21* 


242  EXPOSITION    OF    THOUGHT. 

the  proprietor 

\ 
must  unquestionably  -  pay  the  damages      to  a  farthing; 

but  though  the  malicious  servant 

might  also  be  indicted, 

and  suffer  punishment  -  for  a  crime, 

still,      his  master 

could  not  be  prosecuted  for  a  crime. 

The  following  example  consists  of  a  condition  or  supposition 
followed  by  a  question.  The  question  at  the  end  being  asked 
emphatically,  the  interrogative  tone  is  stronger  than  the  condi- 
tional ;  but  if  the  two  be  carefully  compared,  it  will  be  per- 
ceived, that  they  have  considerable  resemblance  to  each  other. 

So,  if  one  of  two  partners  -  in  trade 

commits  a  fraud,      by  forgery,      or  false  indorsements, 

so  as  to  subject  himself 

to  death,      or  other  punishment,      by  indictment, 

could  the  oilier  party 

be  indicted  -  for  a  crime  ? 

- 

Common  geometrical  demonstrations  abound  in  conditional 
clauses ;  e.  g.  If  A  be  to  B  as  C  is  to  D,  then,  &c.  Such  are  of- 
ten introduced  by  the  word  let;  e.  g.  Let  A  be  to  B  as  C  to  D, 
then  E  will  be  to  F,  &c. 

Further  examples  of  conditional  clauses,  will  be  given  in  the 
subsequent  chapter  on  Emphasis. 


CIRCUMFLEX    INFLEXIONS.  243 


CIRCUMFLEX    INFLEXIONS. 

These  begin  with  a  falling,  and  end  with  a  rising  inflexion. 
We  indicate  them  by  placing  the  marks  for  each  close  together, 
and  over  the  accented  syllable  of  an  emphatic  word. 

The  falling  part  has  the  same  significance  as  if  it  were  used 
alone.  It  is  this  first  portion  which  gives  circumflex  inflexions 
their  logical  force  and  use.  By  a  slight  alteration  in  the  con- 
struction of  the  sentence,  every  circumflex  may  be  superseded 
by  a  falling  inflexion.  In  many  cases  also,  it  is  merely  a  mat- 
ter of  taste  which  of  these  two  to  employ. 

What  then  is  the  office  of  the  last  or  rising  slide  of  the  cir- 
cumflex ? 

In  most  cases,  this  is  called  for  simply  by  the  grammatical 
construction,  which  is  such  as  to  suspend  the  sense  at  the  end 
of  the  clause. 

Sometimes  also  the  rising  part  is  required  to  exhibit  a  con- 
trast with  another  word  which  has  a  falling  inflexion. 

It  is  a  general  rule  of  good  taste  in  reading  or  speaking,  to 
emphasize  by  circumflexes  as  little  as  possible,  and  to  substi- 
tute simple  falling  inflexions.  The  incessant  employment  of 
the  former,  produces  a  disagreeable  style  of  animation  in  the 
reading  of  some,  who  in  other  respects  possess  great  merit. 
It  is  going  to  an  extreme,  however,  to  endeavor  wholly  to  avoid 
them. 

Circumflexes  are  as  easy  of  execution  as  either  rising  or  fall- 
ing inflexions.  Indeed  in  no  sort  of  delivery  do  they  so  much 
abound,  as  in  conversation.  No  practical  direction  is  required 
for  their  management,  further  than  the  following : 

In  emphasizing  with  a  circumflex,  endeavor  to  ex- 
press the  logical  turn  of  the  idea,  by  means  of  a  falling 
inflexion  :  then  suffer  the  voice  to  end  with  a  suspensive 
tone,  in  reference  to  the  connexion  with  what  follows, 
or  for  the  purpose  of  expressing  a  contrast. 


244  EXPOSITION    OF    THOUGHT. 

When  a  circumflex  occurs  on  an  emphatic  word,  which  con- 
sists but  of  a  single  syllable,  it  is  always  what  is  called  a  wave. 
That  is,  the  voice  slides  first  in  one  direction,  and  then  in  an- 
other, without  any  break  in  the  continuity  of  sound. 

A  wave  may  be  either  downwards  and  upwards,  or  upwards 
and  downwards.  The  first  is  of  most  importance,  and  is  that 
which  we  take  care  occasionally  to  mark.  The  second  may 
mostly  be  dispensed  with,  so  far  as  the  sense  is  concerned,  and 
in  place  of  it  the  simple  downward  inflexion  employed.  It 
is  used  to  prolong  a  syllable  arid  give  it  a  more -earnest  expres- 
sion. In  very  powerful  delivery,  especially  of  argumentative 
composition,  the  increase  of  power  given  to  falling  slides,  by 
sliding  instead  of  skipping  up  to  the  point  where  they  com- 
mence, is  of  perpetual  occurrence.  But  as  this  mode  of  man- 
aging downward  inflexions,  depends  not  on  the  logic  and  gram- 
mar of  a  passage,  but  on  the  degree  of  earnestness  in  the  read- 
ing or  speaking,  we  frequently  dispense  with  marking  it. 

One  of  the  most  common  uses  of  the  circumflex,  is  the  fol- 
lowing. In  statement  or  argument,  a  \vord  is  emphasized  in 
the  way  of  pointed  designation.  The  speaker  by  his  tone  and 
gesture,  insists  that  his  hearers  shall  take  especial  notice  of  that 
particular  word.  This  pointing  out  is  effected  by  means  of  a 
falling  slide  of  the  voice.  But  on  the  other  hand,  the  word  on 
which  this  is  done  is  so  situated,  that  it  must  ^hd  with  a  rising 
inflexion,  on  account  of  a  contrast,  or  of  a  suspension  of  the 
sense.  Thus  it  happens  that  two  different  objects  are  to  be  ac- 
complished ;  and  it  is  done  by  a  circumflex. 

EXTRACT    FOR    PRACTICE. 

In  the  following  glowing  extract  from  Burke,  the  descending 
part  of  every  circumflex  proceeds  from  this  principle.  It  keeps 
up  throughout  the  extract,  the  tone  of  pointedly  and  strongly 
inculcating  the  leading  doctrines.  Without  the  circumflexes 
which  we  have  marked,  the  argument  will  be  delivered  with  di- 


CIRCUMFLEX    INFLEXIONS.  245 

minished  force  and  point.  Although  we  have  introduced  a  con- 
siderable number  of  circumflexes,  we  might  have  inserted  still 
more.  Each  reader  may  increase  or  diminish  the  number,  to 
suit  his  own  taste  and  judgment. 

In  a  few  instances,  as  will  be  observed,  we  have  marked  the 
upward  and  downward  wave.  It  will  be  perceived  that  by 
means  of  it,  a  speaker  will  be  enabled  to  set  off  the  contrasts 
with  more  force  and  power. 

As  this  is  one  of  the  most  magnificent  passages  of  argument 
ever  written,  we  shall  not  only  mark  the  emphatic  words  and 
inflexions,  but  the  emphatic  slowness  of  rhythm  which  occa- 
sionally occurs,  and  which  is  so  striking  a  characteristic  of 
Burke's  wonderful  mastery  of  style. 

The  whole  will  illustrate  the  most  important  uses  of  all  the 
inflexions. 

The  clauses  included  in  brackets  are  conditional,  and  each 
must  exhibit  the  conditional  tone  in  a  striking  and  spirited 
manner. 

The  clause  beginning  with  "  As  long  as  you  have  the  wis- 
dom," &,c.  is  also  included  in  a  bracket,  although  the  introduc- 
tory words,  "  As  long  as,"  do  not  in  strict  propriety  introduce 
a  condition.  The  clause  ought  not  therefore,  by  the  laws  of 
language,  to  be  read  with  the  conditional  tone.  Yet  if  such  a 
tone  be  given,  it  will  be  an  allowable  license. 


BURKE   ON   CONCILIATING   AMERICA. 

Let  the  colonies 

\/ 
always  keep  this  idea      of  their  civil  rights 

/ 
associated  -  with  your  government, 

\ 
they  will  ding      and  grapple  to  you  ; 

\ 
and  no  force  -  under  heaven, 


246  EXPOSITION    OF    THOUGHT. 

\ 

*   will  be  of  power      to  tear  them  -  from  their  allegiance. 
But      let  it  be  once  understood, 

that  your  government      may  be  one  thing, 

\/ 
.  and  their  privileges      another ;  \  / 

[lotion; 

that  these  two  things      may  exist  -  without  any  mutual  re- 

\ 

the  cement      is  gone; 

\ 
the  cohesion      is  loosened ; 

and  every  thing      hastens  -  to  decay  and  dissolution. 
As  long  as  you  have  the  wisdom 

to  keep  the  sovereign  authority  -  of  this  country, 

\/ 
as  the  sanctuary  -  of  liberty, 

the  sacred  temple      consecrated  -  to  our  common  faith, 

\ 
wherever 

the  chosen  race  -  and  sons  -  of  liberty      worship  freedom, 

/\ 
they  will  turn  their  faces      towards  you. 

The  more  they  multiply, 

/\ 

the  more  friends      you  will  have. 

The  more  ardently      they  love  liberty, 

\ 
the  more  perfect      will  be  their  obedience. 

\/ 
Slavery , 

\ 
they  can  have  any  where. 


CIRCUMFLEX     INFLEXIONS.  247 

They  may  have  it      from  Spain, 

\ 
they  may  have  it  -  from  Prussia. 

\/ 
But  until  you 

become  lost      to  all  feeling 
of  your  true  interest, 

and  your  national  dignity, 

\/ 
freedom      they  can  have 

from  none  but  you. 

\/ 
This      is  the  commodity  of  price, 

of  which  you  have  the  monopoly . 
This  is  the  true  -  act  of  navigation, 
which  binds  to  you  the  commerce  -  of  the  colonies, 

and  through  them, 

\ 

secures  to  you      the  wealth  of  the  world. 

f      ^/ 

I  Deny  them      this  participation  -  of  freedom, 

and  you  break      that  sole  bond, 

which  originally  made, 

\ 
and  must  still  preserve, 

the  unity  -  of  the  empire. 

Do  not  entertain      so  weak  an  imagination, 

as  that  your  registers,      and  your  bonds, 


248  EXPOSITION    OF    THOUGHT. 

\/ 

your  affi davits ,      and  your  s uffe ra?ices, 

\/ 
your  cockets      and  your   clearances, 

/ 
are  what  form  -  the  great  securities  -  of  your  commerce. 

\/ 

Do  not  dream      that  your  Utters  of  office, 

\/ 
and  your  instructions , 

\/ 
and  your  suspending  clauses,  / 

[this  mysterious  whole, 
are  the  things     that  hold  together  -  the  great  contexture  -  of 

\/  / 

These   things      do  not  make  your  government, 

/ 
dead  instruments, 

/ 

passive  tools      as  they  are ; 

\ 
it  is  the  spirit  -  of  the  English   constitution, 

\/  / 

that  gives  all  their  life      and  efficacy  -  to  them. 

\ 
It  is  the  spirit  of  the  English  constitution, 

/ 
which      infused  through  the  mighty  mass, 

/\ 

pervades, 

ferts, 

/\ 
unites, 

invigorates, 

\ 
vivifies, 

every  part  of  the  empire, 

\ 
even  down  to  the  minutest  member. 


INFLEXIONS. 

Before  dismissing  the  subject  of  inflexions,  it  is  important  to 
furnish  some  further  illustration  of  the  modes  in  which  almost 
every  example  that  can  be  produced,  for  illustrating  the  propriety 
of  a  rising  or  a  falling  inflexion  on  any  one  word,  may  be  read 
in  an  opposite  manner — the  contrary  inflexion  being  substituted 
for  that  directed. 

Every  such  change,  however,  of  one  inflexion  for  its  opposite, 
is  but  an  apparent,  and  not  a  real  exception.  By  such  changes, 
the  idea  is  presented  in  a  different  light,  or,  to  speak  more  pre- 
cisely, with  a  different  relation  to  other  ideas. 

It  readily  follows,  then,  that  rules  and  directions  for  invaria- 
bly appropriating  one  class  of  inflexions  to  any  particular  com- 
bination of  words,  must  be  erroneous.  This  having  been  done 
in  so  many  of  the  books  on  elocution,  the  error  has  undoubtedly 
contributed  to  the  general  neglect  of  such  books  by  accurate 
scholars,  on  the  one  hand,  and  by  those  who  have  a  natural  turn 
for  delivery,  on  the  other. 

It  will  be  well  to  take  some  of  the  examples  which  we  have 
already  used,  and  explain  the  circumstances  of  connexion  with 
other  ideas  which  may  require  inflexions  contrary  to  those 
which  we  have  already  given  them. 

Take  even  such  strong  cases  as  those  of  the  emphatic  falling 
inflexion,  by  which  we  express  positiveness,  strong  affirmation, 
or  earnest  and  pointed  designation  of  such  ideas  as  we  wish  to 
receive  particular  attention ;  even  in  these,  if  we  employ  a  dif- 
ferent style  of  expression,  or  have  a  different  object  in  view,  the 
downward  slide  is  changed  into  a  rising  one.  E.  g. 

"  I  make  the  assertion  deliberately" 

As  much  as  to  say — I  appeal  to  you,  and  ask  you  if  I  am  not 
perfectly  cool  and  collected,  in  making  the  assertion. 

"  They  tell  us,  Sir,  that  we  are  weak, 

unable  to  cope      with  so  formidable  an  enemy." 
22 


250  EXPOSITION    OF    THOUGHT. 

That  is,  I  concede — I  allow — that  the  opposers  of  war  meas- 
ures, consider  us  weak,  &c. 

We  thus  see,  that — 

Concession,  or  appeal,  or  a  fair  and  candid  submitting 
of  an  opinion  or  assertion,  to  the  consideration  and  pos- 
sible objections  of  others,  will  change  affirmative  falling 
inflexions  to  rising  slides. 

So  too,  any  rising  slide  may  have  a  downward  one 
substituted  for  it,  whenever  we  choose  to  interrupt  the 
grammatical  or  logical  continuity  of  languge  or  thought, 
for  the  sake  of  stopping  and  pointing  out  a  particular  idea, 
as  we  pass  along. 

In  most  cases  however,  if  this  be  done,  the  upward  skip  with 
which  the  falling  inflexion  commences,  will  be  high  and  striking. 
The  upward  skip  will  indeed  serve  to  a  considerable  extent, 
the  office  of  an  upward  slide. 

Let  us  take  for  an  example  of  this,  the  first  conditional  clause 
of  the  extract  from  Burke;  its  inflexions  may  even  be  as  fol- 
lows, provided  we  state  the  condition  in  the  utmost  extreme  of 
pointedly  and  even  dogmatically  inculcating  a  doctrine. 
\ 

Let  the  colonies 

\  \ 

always  keep  the  idea       of  their  civil  rlghts 

\  \ 

as^ciated        with  your  °    ernment. 

Some  notice  ought  also  to  be  taken  of  the  change  which  of- 
ten takes  place  at  the  close  of  a  series  of  several  falling  inflex- 
ions. At  the  close  of  our  extract  from  Burke,  we  have  the  fol- 
lowing series  of  emphatic  particulars : 

\  \          \  /  \ 

"  which  pervades,  feeds,  unites,  invigorates,  vivifies,  every 

part  of  the  empire." 


INFLEXIONS.  251 

Here  it  will  be  observed,  that  on  the  last  member  but  one  of 
the  series,  the  inflexion  is  changed.  The  object  of  doing  this, 
is  simply  to  show  that  we  are  within  one  particular  of  the  end 
of  the  enumeration.  If  the  conjunction  and  intervened  be- 
tween the  two  last  members  of  the  series,  the  change  to  the  rising 
inflexion  would  be  on  the  last  particular,  instead  of  on  the  last 
but  one. 

There  are  several  ways  of  varying  the  inflexions,  for  the  pur- 
pose of  showing  that  we  are  near  the  end  of  the  series.  The 
last  may  be  varied,  or  the  last  but  one  ;  or  the  two  or  three  last. 
No  more  precise  rule  is  necessary,  than  the  following  : 

At  or  near  the  end  of  a  series  of  particulars,  we  should 
generally  vary  the  inflexion,  to  show  that  the  series  is 
nearly  or  quite  ended. 

The  gestures  that  naturally  accompany  inflexions,  curiously 
correspond  with  them  in  regard  to  upward  or  downward  di- 
rection. We  have  before  mentioned,  that  emphatic  falling  in- 
flexions are  accompanied  with  the  downward  stroke  of  gesture. 
Rising  inflexions,  if  of  moderate  extent,  are  accompanied,  sim- 
ply with  a  suspension  of  the  hand  in  the  air.  The  arm  does 
not  naturally  incline  to  descend  or  fall,  until  the  sense  is  com- 
pleted, and  the  voice  employs  an  emphatic  downward  slide, 
or  a  cadence.  Emphatic  rising  inflexions,  incline  to  carry  the 
hand  in  an  oblique  direction,  upwards  and  outwards.  But  in 
the  most  flexible,  graceful  and  significant  styles  of  natural  ges- 
ture, the  motions  made  more  or  less  in  an  upward  dirction,  are 
executed  rather  at  the  wrist  than  from  the  shoulder.  Circum- 
flexes especially,  tend  to  make  the  gesticulations  of  the  hand 
and  forefinger  extremely  significant.  A  waving  course  through 
the  air  is  made  by  the  hand,  similar  to  the  downward  and  up- 
ward progress  of  the  voice, 


252  EXPOSITION    OF    THOUGHT. 

CHAPTER  III. 

EMPHASIS. 

THIS  important  subject  will  be  considered  in  the  same  physi- 
ological light,  as  those  of  pause  and  inflexion.  But  before  pro- 
ceeding to  treat  of  it  in  detail,  it  is  essential  that  we  make  a  few 
remarks,  in  order  to  explain  more  definitely  than  any  one  has 
hitherto  done,  what  is  the  peculiar  province  of  one  who  acts  as 
a  teacher,  not  of  oratory,  but  of  elocution. 

Delivery,  as  a  subject  of  study  on  the  part  of  a  reader  or 
speaker,  or  of  criticism  on  that  of  an  auditor,  must  be  regarded 
under  one  of  two  aspects.  Viewed  in  one  light,  it  is  a  natural 
and  instinctive  act,  by  which  we  give  an  adequate  expression  of 
the  thoughts  and  feelings  suggested  by  our  subject,  and  by  the 
time,  place  and  occasion.  This  is  the  light  in  which  it  is  re- 
garded throughout  the  whole  of  this  treatise.  Elocution  thus 
limited,  becomes  a  branch  of  physiology. 

In  the  other  aspect,  reading  or  speaking  is  viewed  as  an  art, 
and  therefore  as  dependent  solely  on  judgment  and  taste.  The 
art  of  delivery  is  a  part  of  the  art  of  oratory.  Acting,  which 
makes  a  distinct  branch,  is  also  in  the  legitimate  sense  of  the 
word  an  art ;  as  much  so  as  poetry  or  painting.  It  is  an  art 
of  a  high  order. 

Delivery  thus  exercised,  makes  use  of  the  physiological  laws 
of  utterance,  as  instruments.  A  speaker  who  deserves  to  be 
called  an  orator,  does  much  more  than  merely  give  an  adequate 
expression  of  his  impulses  and  feelings.  His  reason,  or  as  we 
more  commonly  say,  his  taste  and  judgment,  are  all  the  while 
superior  to  these,  and,  as  it  were,  look  down  upon  them  from  a 
higher  position;  determining  which  he  shall  encourage  and 
which  he  shall  check.  In  doing  this,  however,  he  must  never 
violate  any  law  of  nature.  His  pauses  and  inflexions,  for  in- 


EMPHASIS.  253 

stance,  are  all  determined  by  laws  of  reason  and  grammar.  In 
short,  all  the  principles  which  we  have  as  yet  investigated,  are 
fixed  and  definite.  They  are  capable  of  being  reduced  to  sci- 
entific laws. 

If  we  apply  these  considerations  to  our  present  subject,  the 
distinction  between  the  natural  laws  of  utterance  in  regard  to 
emphasis,  and  the  artistical  taste  and  judgment  of  the  orator,  is 
as  follows. 

Nature  has  provided  certain  modes  of  rendering  words  em- 
phatic. We  are  so  constituted,  that  in  the  language  of  our  defi- 
nition, (p.  103,)  "  Emphatic  force  is  given  to  those  parts  of  dis- 
course which  excite  the  mind  of  a  speaker  to  peculiar  earnest- 
ness, and  cause  him  to  make  a  special  effort  to  awaken  the 
same  feelings  in  those  whom  he  addresses."  In  a  merely  in- 
stinctive  delivery,  every  word  that  peculiarly  excites  the  speaker, 
must  be  uttered  in  precise  correspondence  with  the  impulse. 
But  in  so  doing,  he  is  liable  to  misjudge.  He  feels,  for  instance, 
impulses  leading  him  to  enforce  with  great  vehemence,  all  the 
explanatory  inflexions  on  the  principal  words  of  his  course  of 
reasoning.  His  audience,  however,  may  be  so  familiar  with 
the  subject,  or  so  quick  of  apprehension,  that  they  do  not  need 
this  assistance,  and  feel  it  to  be  disagreeable.  So  too,  of  ap- 
peals to  the  imagination  and  emotions :  the  speaker  may  per- 
petually misjudge.  In  all  such  cases,  a  knowledge  of  elocution, 
considered  as  a  mere  account  of  the  natural  laws  of  utterance, 
can  render  him  no  assistance,  and  he  must  be  guided  by  prin- 
ciples belonging  to  the  art  of  oratory.  Such  principles,  like 
those  of  poetry,  painting  and  sculpture,  are  not  properly  of 
a  scientific  nature.  There  may  be  a  science  of  elocution,  as 
there  is  of  natural  history.  No  one  however,  speaks  of  a 
science  of  poetry  or  oratory.  Science  does  not,  like  the  arts, 
appeal  to  taste  and  the  decisions  of  the  imagination  and  feelings. 

Asa  clear  apprehension  of  these  distinctions  is  essential  in 
reference  to  practical  speaking,  as  well  as  to  an  artistical  man- 

22* 


254  EXPOSITION    OF    THOUGHT. 

agement  of  elocution,  it  will  be  useful  to  dwell  upon  the  distinc- 
tion between  emphasis  and  inflexion.  In  speaking  of  the  latter, 
we  have  generally  been  careful  to  avoid  confounding  it  with 
the  tone  that  results  from  its  union  with  the  former.  An  em- 
phatic inflexion  is  a  compound  of  inflexion  with  emphatic  force. 
Emphatic  force  results  from  feeling.  The  inflexions  repre- 
sent acts  of  the  intellect,  and  are  continually  employed,  with 
or  without  that  excitement  of  feeling  which  produces  emphatic 
force.  Let  us  illustrate  this  assertion  by  a  familiar  example : 

\ 
I  said  yes, 

/ 

and  not  no. 

Here  the  contrast  between  what  is  affirmed  and  what  is  de- 
nied, is  expressed  by  opposite  inflexions.  These  must  be  of  a 
marked  degree,  or  there  will  be  no  tone  of  explanation.  They 
must  be  at  least  thirds  and  not  seconds ;  and  the  extent  of  the 
change  of  pitch,  by  skip  and  slide,  will  represent  the  degree  of 
explanatory  tone.  If  we  employ  but  a  slight  degree,  the  voice 
will  skip  and  slide  a  third;  if  we  are  more  explanatory,  these 
changes  will  either  be  through  a  fifth,  or  the  simple  slides  will  be- 
come waves.  But  suppose  the  person  addressed,  is  inattentive, 
or  incredulous,  and  we  wish  to  arouse  his  mind  to  perceive  the 
truth  or  importance  of  what  we  say ;  then  it  is,  and  only  then, 
that  we  employ  emphatic  force.  This  may  be  given  in  differ- 
ent ways,  but  it  is  always  something  superadded  to  the  inflexion. 

Emphasis,  then,  is  some  kind  of  emphatic  force,  and 
may  exist  with  or  without  inflexion. 

It  represents  the  feeling  of  the  importance  of  an  idea  ; 
and  if  accompanying  an  inflexion,  it  superadds  force  and 
energy  to  the  simply  explanatory  act  of  the  intellect. 

Emphasis  or  emphatic  force,  is  simply  an  instrument 
for  awakening  attention,  and  consequent  sympathy,  in 
other  minds. 


EMPHASIS.  255 

A  familiar  exemplification  of  its  essential  nature,  is  afforded 
by  the  sharp,  loud,  or  harsh  utterance,  which  we  employ  to 
command  brute  animals. 

There  is  an  apparent  exception  to  the  truth  of  the  above 
proposition,  in  the  fact  that  we  employ  emphasis  when  talking 
to  ourselves.  But  in  all  such  cases,  we  are  either  in  imagina- 
tion addressing  others,  or  we  actually  address  ourselves,  in  the 
same  way  as  when  one  person  speaks  to  another.  E.  g.  "  I  say 
to  myself."  If  we  may  be  permitted  to  use  a  mode  of  expres- 
sion that  is  now  growing  familiar  to  all,  we  may  say  that,  subjec- 
tively, we  address  ourselves  viewed  as  objective.  We,  at  any 
rate,  make  an  objective  representation  of  our  own  discourse. 

If  then,  the  various  forms  of  emphasis  are  nothing  more  or 
less  than  instruments  for  arousing  attention  and  sympathy  in 
others,  when  should  we  employ  these  instruments'? 

It  is  obvious  that  we  may  feel  the  importance  of  directing  the 
attention  of  others,  to  the  grammatical  construction ;  to  the 
logical  relations  of  ideas;  to  particular  images  before  the  imagin- 
ation; or  to  particular  emotions  or  passions.  Accordingly,  we 
have  the  following  classification  : 

1.  Grammatical  Emphasis. 

2.  Logical  Emphasis. 

3.  Emphasis  of  the  Imagination. 

4.  Emphasis  enforcing  particular  emotions. 

The  words  to  be  selected  for  receiving  emphatic  force,  must 
evidently  be  the  most  important  ones  in  reference  to  each  of 
these  heads. 

Errors  occurring  under  the  first  two  classes,  imply  that  the 
reader  or  speaker  misapprehends  the  meaning  of  a  passage.  In 
respect  to  these,  no  license  is  admissible,  except  to  avoid  giving 
force  to  more  words  than  will  be  necessary  for  intelligibility. 

In  respect  to  emphatic  enforcement  of  words  that  appeal  to 
the  imagination,  or  to  the  emotions,  the  principles  of  grammar 
and  logic  are  not  without  influence,  yet  imagination  is  also  ne- 


256  EXPOSITION     OF    THOUGHT. 

cessary,  and  taste  and  judgment  must  be  exercised.  The  call 
for  these  is  similar  to  that  made  in  writing  an  essay  or  oration. 
The  grammatical  and  logical  arrangement  of  the  composition, 
will  indeed,  in  ordinary  cases,  be  a  sufficient  direction,  but  a 
reader  or  speaker  of  skill  and  cultivated  power,  will  often  be 
much  superior  to  those  who  depend  on  these  alone.  No  com- 
position is  found  less  interesting  in  ordinary  delivery,  than  de- 
scription or  narration ;  while  none  is  more  so,  when  read  or 
spoken  by  one  who  makes  use  of  a  poetical  imagination. 

We  thus  find  that  even  the  selection  of  words  for  receiving 
emphatic  force,  is  liable  to  depend  on  taste  and  judgment; 
while  the  degree  of  the  force  must  be  determined  solely  by  the 
same  guides.  But  as  artistic  principles  are  never  very  neces- 
sary for  enabling  one  to  do  justice  to  his  own  sentiments ;  noth- 
ing more  is  necessary  for  qualifying  us  to  become  practical 
speakers,  than  to  acquire  the  power  of  giving  a  free  and  bold 
expression  to  natural  impulses. 

Let  a  speaker  emphasize  such  words  as  most  excite 
his  own  understanding,  imagination  and  feelings;  and 
let  the  degree  of  force  be  such  as  to  produce  on  his  au- 
dience the  impression  he  wishes. 

In  respect  to  determining  the  latter  point,  considerable  assist- 
ance may  be  derived  from  the  section  (p.  126)  on  the  Con- 
sciousness of  being  earnest  and  interesting. 

By  the  very  act  of  endeavoring  to  speak  with  earnestness, 
one's  whole  mind  is  aroused  to  activity ;  and  improvement  in 
respect  to  propriety  of  emphasis,  keeps  pace  with  that  in  the 
more  mechanical  and  physical  requisites  of  delivery.  Yet 
though  the  mind  of  the  speaker  is  in  fact  actuated  by  principles 
of  thought,  he  is  not  often  distinctly  conscious  of  them  at  the 
time  of  speaking. 

The  following  general  directions,  however,  seem  to  us  to  be 
such  as  actually  influence  the  choice  of  emphatic  words,  and 
will  undoubtedly  be  found  useful. 


EMPHATIC     GROUPING.  257 

In  following  a  train  of  thought,  we  find  that  each  suc- 
cessive sentence  adds  a  new  idea  to  those  which  have 
been  given  in  preceding  sentences. 

The  new  idea  must  always  receive  an  emphasis. 

We  also  meet  continually  with  ideas  that  have  been 
expressed  or  implied  in  previous  sentences. 

These  are  to  be  passed  over  without  emphasis. 

Sometimes  however  an  idea  is  repeated  by  the  wri- 
ter, for  the  sake  of  again  inculcating  its  importance. 

In  such  cases  it  must  be  emphasized  again,  and  with 
still  greater  force. 

The  rhetorical  principle  of  climax,  is  also  of  constant  recur~ 
rence  in  animated  composition,  requiring  the  most  important  of 
two  or  more  ideas  to  be  placed  last.  Hence,  if  we  meet  with 
a  series  of  emphatic  ideas,  which  all  stand  in  the  same  or  a 
similar  relation,  the  emphatic  force  increases  as  we  proceed, 
and  is  most  striking  on  the  last  of  the  climax.  Therefore, 

When  we  meet  with  a  series  of  ideas  requiring  em- 
phasis, let  the  climax  of  force  correspond  to  that  of  the 
thoughts. 

Before  proceeding  to  explain  and  illustrate  by  examples  for 
practice,  the  several  kinds  of  emphasis,  according  to  the  classi- 
fication lately  given,  we  will  furnish  examples  in  which  the 
above  rules  will  guide  every  one  aright. 

But  it  is  first  necessary  to  explain  a  principle  which  we  have 
before  alluded  to,  viz.  the  effect  of  strong  emphatic  force  in  fu- 
sing groups  together,  so  as  sometimes  to  make  the  actual  words 
of  utterance  extremely  long. 

EMPHATIC .  GROUPING. 

Emphatic  force  is  a  still  higher  degree  of  accentual  force. 
This  higher  degree  may  unite  several  groups,  and  even  two  or 


258  EXPOSITION    OF    THOUGHT. 

more  phrases,  into  a  whole,  which  is  uttered  with  a  single  men- 
tal and  vocal  effort.  In  familiar  delivery,  such  fusing  of  groups 
and  phrases  causes  the  rate  of  utterance  to  be  rapid.  Experi- 
enced speakers,  however,  learn  to  exhibit  this  process  of  ma- 
king a  single  whole  out  of  several  parts,  without  any  relaxation 
of  a  suitable  slowness  and  deliberation. 

They  acquire  the  power  of  keeping  a  clear  and  unwavering 
conception  of  the  intimate  clustering  of  subordinate  ideas 
around  the  emphatic  one,  and  of  maintaining,  at  the  same  time, 
a  perfect  command  over  the  voice. 

Yet  it  must  be  remembered,  that  in  all  such  cases,  the  words 
which  cluster  to  the  emphatic  one,  and  make,  as  it  were,  one 
extremely  long  group,  are  such  as  express  ideas  with  which 
both  the  speaker  and  the  auditor  are  so  familiar,  that  there  is 
no  necessity  for  enforcing  them.  They  are  words  which  have 
either  been  employed  before,  or  would  be  readily  understood  if 
they  should  be  omitted.  It  is  not  even  necessary  to  the  mere 
intelligibility  of  a  discourse,  that  they  be  distinctly  caught  by 
the  ear.  In  addresses  to  very  large  assemblies,  it  often  hap- 
pens that  they  are  not  distinctly  heard  by  a  considerable  pro- 
portion of  the  auditors.  Except  in  very  deliberate  and  distinct 
speaking,  their  natural  utterance  is  in  a  sort  of  under  tone,  and 
with  an  obscure  sound  of  the  voice,  like  that  of  words  spoken 
aside  in  a  dialogue.  They  likewise  run  on  a  monotone,  and  in 
a  key  at  least  as  low,  or  as  high,  as  that  of  the  termination  of 
the  slide  or  skip  of  the  emphatic  word.  When  on  a  low  key, 
as  is  always  the  case  after  an  emphatic  falling  inflexion,  it  is 
difficult  to  determine  their  exact  pitch  in  so  obscure  a  tone 
of  voice. 

Some  English  writers  on  elocution,  have  to  some  extent,  but 
very  imperfectly,  apprehended  this  principle,  and  distinguished 
the  words  which  in  this  manner  follow  an  emphatic  falling  in- 
flexion, by  the  name  of  a  slur,  or  a  slurred  passage. 

We  will  first  quote  in  exemplification,  a  sentence  which  we 
have  already  employed  to  illustrate  the  lowest  degree  of  the 


EMPHATIC     GROUPING.  259 

principle;  one  in  which  a  noun  which  has  been  before  em- 
ployed, is  repeated  again,  without  its  natural  strong  accent,  and 
in  short,  is  uttered  precisely  like  a  pronoun.  Vide  p.  204. 

Yes!  Gentlemen, 

\ 
the  defendant  has  forced  the  press. 

In  vehement  argumentation,  such  a  phrase  is  uttered  like  one 
long  word  which  has  two  secondary  accents  preceding  the  pri- 
mary one  at  the  end. 

In  the  following  example,  all  the  words  that  follow  the  vehe- 
ment emphasis  on  competency,  are  uttered  with  accents  which, 
in  relation  to  that  on  com,  are  but  secondary,  and,  the  same  be- 
ing the  case  with  the  words  before  the  emphasis,  the  whole 
phrase  becomes,  in  utterance,  but  a  single  word. 

I  deny  the  COMpetency  of  Parliament,  to  do  this  act. 

We  may  even  lengthen  this  example,  and  if  the  speaking  be 
sufficiently  vehement,  the  whole  will  still  be  fused  into  a  group 
uttered  as  a  single  word. 

I  give  an  unqualified  denial  to  the  assertion  of  the  COMpetency  of  Par- 
[liament,  to  abolish  the  legislature  of  Ireland. 

The  following  is  from  Wirt's  celebrated  report  of  the  speech 
of  Patrick  Henry  in  favor  of  war  measures. 

Sir,  we  have  done  every  thing  that  COULD  be  done  to  avert  the  storm 

[that  is  now  coming  on. 

These  examples  will  be  abundantly  sufficient  to  illustrate  the 
principle,  which  is  one  of  very  frequent  occurrence,  and  indis- 
pensable in  practice  whenever  a  glowing  animation,  and  what 
the  ancients  called  the  "  torrent"  of  delivery,  is  called  for.  No 
principle  is  more  perpetually  exemplified  in  conversation,  and 
in  fluent  extemporaneous  speaking.  There  is  no  danger  that 
the  lawyer  will  fail  of  instinctively  practising  it.  Yet  those 


260  EXPOSITION     OF    THOUGHT. 

whose  sole  vocation,  in  speaking,  is  to  deliver  formal  discourses 
in  very  large  rooms,  are  apt  to  acquire  habits  of  monotonous 
uniformity  of  force  and  accent,  which  entirely  prevent  this  nat- 
ural subordination  of  several  words  to  a  single  one.  An  exclu- 
sive cultivation  of  articulation,  while  other  parts  of  delivery  are 
neglected,  may  produce  the  same  ill  effect.  It  is  important  to 
be  known,  in  reference  to  the  mere  intelligibility  of  a  discourse, 
that  it  is  not  at  all  necessary  that  every  syllable,  or  even  every 
word,  be  distinctly  caught  by  the  auditors.  Articulation  is  of 

less  importance  to  the  meaning  of  the  whole  of  a  passage,  than 

natural  emphasis,  and  the  due  subordination  of  a  part  of  the 

words  to  the  rest. 

In  reference  to  this  principle,  the  following  will  suffice  for 

practical  directions. 

When  a  phrase  has  a  single  strong  emphatic  word,  let 

this  be  uttered  with  such  force,  that  the  others  shall  be 

kept  subordinate  to  it. 

If  pauses  are  made  for  convenience  of  respiration,  let 

them  be  so  managed,  as  not  to  interfere  with  the  unity 

of  the  phrase,  and  especially  with  the  subordination  of 

all  the  words  to  the  emphatic  one. 

It  is  the  better  observance  of  the  relative  subordination  of 
ideas,  which  chiefly  constitutes  the  superiority  of  conversational, 
or  of  glowing  extemporaneous  delivery. 

The  principle  is  of  equal  importance,  in  reference  to  clauses 
and  phrases  which  come  in  parenthetically,  and  interrupt  the 
connexion  of  others.  The  practical  direction,  however,  for 
managing  these,  should  not  be,  to  deliver  them  in  an  obscure 
and  hurried  manner,  but  as  follows : 

Exhibit  the  subordination  of  phrases  which  interrupt 
the  connexion  between  emphatic  words,  principally  by 
means  of  striking  force  on  the  emphases  which  precede 
and  follow  them. 


EMPHATIC     GROUPING.  261 


EXAMPLES    FOR   PRACTICE. 

The  following  extract  illustrates  such  principles  of  emphasis 
as  we  have  hitherto  furnished.  It  likewise  abounds  in  contrasts 
of  opposite  emphatic  inflexions.  The  primary  principle  of  the 
emphasis  is  very  simple ;  being  that  of  a  succession  of  new  ap- 
peals to  the  minds  of  the  assembly.  These  grow  stronger  also, 
in  the  way  of  climax. 

\ 

They  tell  us      that  we  are  weak, 

\ 
unable  -  to  cope  -  with  so  formidable  an  adversary. 

\ 
But  when  -  shall  we  be  stronger? 

/ 

Will  it  be  the  next  week, 

\ 
or  the  next  year  ? 

/ 
Will  it  be  -  when  we  are  totally  disarmed, 

/ 
and  when  a  British  GUARD      shall  be  stationed  in  every  house  ? 

Shall  we  gather  strength      by  irresolution  -  and  inaction  1 

Shall  we  acquire  the  means  of  effectual  resistance, 

/ 
by  lying  supinely  on  our  backs, 

/ 
and  hugging  -  the  delusive  phantom  of  HOPE, 

/ 
until  our  enemies      shall  have  bound  us, 

/ 
hand  and  FOOT? 

\ 
Sir,      we  are  not  weak, 

if  we  make  a  proper  use  \ 

[power. 

of  those  means      which  the  God  of  nature      hath  placed  in  our 

23 


262  EXPOSITION    OF    THOUGHT. 

Three  millions  -  of  people, 

armed  -  in  the  holy  cause  of  liberty , 

/ 
and  in  such  a  COUNTRY  -  as  that  which  we  possess, 

are  invincible       by  any  force 

which  our  enemies  -  can  send  against  us. 

PATRICK  HENRY. 

The  following  illustrates  the  same  principles,  and  especially 
that  of  repetition  for  the  sake  of  increased  emphasis. 

With  a  step      steady  as  time, 

/ 
and  an  appetite      keen  as  DEATH, 

the  defendant  -  has  been  seen  waging  against  the  plaintiff, 

/ 
a  warfare      not  -  of  conquest, 

\ 

but  Of  EXTERMINATION. 

He  has  been  seen  -  opening  on  the  plaintiff, 

\ 
the  batteries  of  the  press. 

\ 

Yes,      gentlemen, 

\ 
the  defendant  -  has  forced  the  PRESS 

\ 
to  become      the  disturber  -  of  domestic  quiet, 

the  assassin  -  of  private  reputation.\ 

Our  press,      gentlemen, 

\ 
was  destined  -  for  other  purposes. 

/ 
It  was  destined     not  -  to  violate, 

\ 
but  to  PROTECT      the  sanctity  of  private  rights. 


GRAMMATICAL    EMPHASIS. 

It  was  kindly  ordained  -  by  a  beneficent  Providence, 

\ 
to  inform, 

\ 
expand, 

\ 
and  DIGNIFY      the  public  mind. 

\ 
It  is  for  THESE  -  high  purposes      our  press  was  ordained ; 

but  the  defendant 

\ 
has  rendered  it      the  degraded  vehicle  -  of  foul  defamation. 

\ 
Of  THIS      I  complain, 

/ 

not  -  merely  -  as  counsel  for  the  plaintiff, 

\ 
but  as  the  humble  -  advocate  of  my  country. 

GRIFFIN. 

GRAMMATICAL  EMPHASIS. 

This  enunciates  some  words  more  strikingly  than  others,  to 
assist  in  apprehending,  or  remembering,  an  extended  grammat- 
ical construction.  It  is  occasionally  needed,  when  the  style  is 
diffuse,  and  a  particular  sentence  is  long. 

It  often  happens  that  the  nominative  noun  of  the  subject,  has 
appended  to  it  several  words,  which  make  the  whole  subject 
very  long.  This  appended  portion  will  separate  the  nominative 
from  the  verb,  by  a  considerable  interval.  In  such  a  case,  it 
will  be  uttered  with  more  force ;  and  thus  will  not  only  have  its 
importance  in  the  subject  indicated,  but  will  be  remembered, 
when  the  mind,  both  of  the  speaker  and  listener,  arrives  at  the 
predicate.  There  will  also  be  a  corresponding  emphasis,  on 
the  verb,  adjective,  or  noun,  of  the  predicate.  E.  g. 

Every  thing      in  the  city  -  of  our  residence  -  on  earth, 
reminds  us, 


264  EXPOSITION     OF    THOUGHT. 

that  we  are  never  -  stationary  -  in  it, 

[parture. 

but  are  always  advancing     towards  the  period  -  of  our  final  de- 

In  this  example,  the  emphatic  force  on  every  thing,  and  re- 
minds, shows  the  relation  of  nominative  and  verb.  The  subse- 
quent emphases  are  not  only  grammatical,  but  logical ;  since 
they  indicate  the  most  important  idea  in  each  phrase,  as  well  as 
the  construction  of  the  sentence. 

Grammatical  emphasis  is  always  needed,  when  the  subject 
and  predicate  are  separated  by  intervening  clauses.  E.  g. 

The  aggregate  of  days      that  have  passed  by  us, 
the  yearly  seasons, 

the  scenes  of  Ufey      and  periods  of  age, 
since  we  came  into  possession  -  of  our  privileges, 
since  we  first  -  knew  our  dwellings, 
walked  -  our  streets, 

and  entered  -  our  sanctuaries,      and  heard  the  words  of  God, 
are  so  many  advances      towards  eternity  j\ 
and  tell, 

as  they  thicken  -  on  the  path  -  we  leave, 
how  soon      we  reach  the  close  -  of  our  pilgrimage, 

and  enter  -  upon  unknown  worlds. 

Prof.  FITCH. 

The  emphases  in  the  last  two  phrases  of  the  above,  show  the 
grammatical  relation  to  tell,  from  which  they  are  separated  by 
an  intervening  clause.  These  cases,  like  the  last  emphases  in 
the  preceding  example,  and  numerous  others,  are  instances  of 
the  coincidence  of  grammatical  with  logical  emphasis. 


GRAMMATICAL    EMPHASIS. 

In  general,  when  a  composition  proceeds  in  a  flowing  style, 
and  with  long  periods,  grammatical,  in  addition  to  logical  em- 
phasis, is  needed.  Yet  to  a  great  extent,  the  two  will  coincide. 

The  following  beautiful  period  from  the  same  sermon  which 
furnished  our  two  preceding  examples,  will  be  found,  on  analy- 
sis, an  instructive  exemplification  of  the  present  subject.  We 
mark  its  emphases  as  follows.  The  phrases  which  are  wholly 
in  italics,  are  the  subject  phrases  of  the  whole  period.  The 
second  and  fourth  from  the  end,  have  entire  words  in  italics,  to 
show  their  common  grammatical  relation.  In  the  others,  the 
words  in  corresponding  grammatical  relations,  are  indicated  by 
italicising  the  accented  vowel  of  each.  To  prevent  confusion, 
we  have  omitted  to  mark  the  emphasis  required  on  the  word 
"  first,"  in  the  second  phrase,  which  is  purely  an  emphasis  of 
thought. 

He  has  beheld  us, 

in  the  first  stages  -  of  our  being  -  here, 
engaged  -  in  unrighteous  rebellion  -  against  his  authority, 
and  bent  -  on  neglect  of  his  glories ; 
and,  moved  with  pity, 
sent  his  everlasting  Son, 

to  atone  -  for  our  guzlt      and  to  call  us  -  to  repentance, 
and  his  Holy  Spirit, 
to  indzte  -  his  will,,    and  influence  us  -  to  obedience. 

One  of  the  most  common  uses  of  this  kind  of  emphasis,  is  to 
connect  an  antecedent  and  its  relative.  If  the  antecedent  be  a 
pronoun,  it  will  thus,  though  naturally  unaccented,  receive  a 
strong  and  emphatic  accent.  E.  g. 

Nor  could  I  regard  him      as  a  safe  counsellor, 
23* 


266  EXPOSITION     OF    THOUGHT. 

in  the  affairs  -  of  this  government, 

whose  thoughts      should  be  mainly  bent  -  on  considering,  &,c. 

From  the  above  examples,  our  readers  will  readily  infer,  that 
grammatical  emphasis  is  common  and  important.  Yet  it  must 
be  remembered,  that  while,  in  general,  sentences  are  so  con- 
structed, that  the  most  important  word  in  each  clause  or  phrase 
will  require  some  degree  of  emphasis  in  reference  to  setting 
forth  thought,  the  same  emphasis  will  also  assist  in  displaying 
the  grammatical  relation. 

LOGICAL    EMPHASIS. 

The  emphasis  of  thought,  coinciding  with  that  of  grammar, 
will  in  general  cause  the  most  important  words  in  a  phrase  to 
be  uttered  more  forcibly  than  others.  There  is  a  great  deal  of 
such  emphasis,  which  is  too  obvious  to  need  rules  or  description. 
Upon  it,  to  a  great  extent,  depends  the  rhythm  of  discourse,  and 
the  balance  of  phrases  in  style. 

But  the  most  important  part  of  the  present  subject,  and  that 
to  which  the  term  logical  emphasis  is  most  applicable,  is  that  of 
emphatic  inflexions. 

These  designate  various  relations  between  single  words,  or 
between  whole  clauses,  sentences,  and  even  paragraphs,  and 
may  be  arranged  under  the  following  heads. 

1.  Simple  pointed  Affirmation  and  Designation. 

2.  Negation;  often  used  in  contrast  with  affirmation. 

3.  Condition  and  Consequence ;  as  contrasted  relations, 

4.  Concession  and  Denial ;  also  contrasted. 

5.  Question  and  Answer ;  generally  contrasted. 

6.  Contrast;  or  one  thing  compared  with  another. 

7.  Reference;  which  is  a  variety  of  the  preceding. 

8.  Correspondence;  another  variety  of  contrast :  e.g. 

\ 
"  I  told  him  to  do  so ;  he  did  so." 


LOGICAL     EMPHASIS.  267 

9.  Intensive  Emphasis;  which  may  be  upon  affirmation,  ne- 
gation, or  contrast. 

10.  Emphasis  of  Remonstrance,  which  resembles  that  of  Ref- 
erence. 

The  inflexions,  by  which  these  relations  are  pointed  out, 
having  been  sufficiently  noticed  in  the  preceding  chapter,  we 
shall  proceed  to  furnish  a  series  of  extracts  for  practice,  each  of 
which  will  be  characterized  by  a  prevalence  of  one  sort  of  em- 
phasis. The  passages  which  we  extract,  will  sometimes  be 
found  among  the  most  admirable  in  the  language,  as  regards 
rhetorical  structure. 

1.  POINTED  AFFIRMATION, 

The  following  is  from  a  vehement  argument  against  the  un- 
ion of  Ireland  with  England.  The  latter  part  illustrates,  also, 
the  contrast  of  affirmation  and  negation. 

"  Sir,      in  the  most  express  terms, 

\  [gislature  of  Ireland. 

I  deny  -  the  COMPETENCY  -  of  Parliament  -  to  abolish  the  le« 

\ 
I  warn  you, 

\ 
do  not  DARE 

\ 
to  lay  your  hands  on  the  constitution. 

I  tell  you,      that  if, 

circumstanced  -  as  you  are, 

\ 
you  PASS  this  act, 

\ 
it  will  be  a  nullity, 

and  that  no  man  in  Ireland 

\ 
will  be  bound  to  obey  it. 


263  EXPOSITION    OF    THOUGHT. 

\      V  \ 

I  make  the  assertion      deliberately : 

\ 
I  repeat  it, 

and  I  call  on  any  man  who  hears  met 

\ 

to  take  down  my  words. 
\ 
You  have  not  been  ELECTED  -  for  this  purpose  ; 

\ 
you  are  appointed      to  make  LAWS, 

/ 

and  not  legislatures : 

\ 
you  are  appointed      to  act  UNDER  the  constitution, 

/ 

not  -  to  alter  it : 

you  are  appointed  -  to  EXERCISE  -  the  functions  of  legislators,  \ 

/ 
and  not  to  transfer  them  : 

/ 

and  if  you  do  so, 

\ 
your  act      is  a  dissolution  of  the  government : 

you  resolve  society      into  its  original  elements, 
and  no  man  in  the  land, 

is  bound  to  obey  you. 

PLUNKET. 

The  following  illustrates  the  emphasis  of  pointed  affirmation 
and  designation,  as  it  is  used  in  the  statement  of  a  case. 

Gentlemen  -  of  the  Jury.\ 

\ 
My  case      is  as  follows : 

William  Orr 
was  indicted, 


LOGICAL    EMPHASIS.  269 

\ 

for  having  administered      the  oath  -  of  a  United  Irishman. 

After  remaining  -  upwards  of  a  year      in  jail, 

\ 
Mr.  Orr      was  brought  to  his  trial; 

\ 
was  prosecuted      by  the  state ;  \ 

[Wheatly, 
was  sworn  against      by  a  common  informer  -  by  the  name  of 

\/ 

who      himself     had  taken  the  same  oath, 

and  was  convicted     under  the  insurrection  act, 

.  , .  .    / 

which  makes  the  administering  -  such  an  oath, 

/  \ 

felony,      or  death. 

The  Jury 

\ 
recommended  Mr.  Orr      to  mercy. 

The  Judge, 

with  a  humanity  -  becoming  his  character, 

\/ 
transmitted  -  the  recommendation 

\ 
to  the  noble  prosecutor  -  in  this  case. 

Three  of  the  jurors 

made  solemn  affidavit,      in  court, 

\ 
that  liquor      had  been  conveyed  into  their  box ; 

\ 
that  they  were  brutally  threatened, 

by  some  of  their  fellow  jurors, 

\ 
with  capital  prosecution, 


270  EXPOSITION    OF    THOUGHT. 

if  they  did  not  find  their  prisoner  -  guilty; 
and  that  under  the  impression  -  of  those  threats, 
and  worn  down      by  watching  -  and  intoxication, 
they  had  given  a  verdict  -  of  guilty  -  against  him, 

though  they  believed  him,     in  their  conscience,     to  be  innocent. 

\ 
Further  inquiries  -  were  made, 

which  ended  -  in  a  discovery,      j  ^fam      k  ->>..-,*! 

of  the  infamous  -  life  and  character 

\ 
of  the  informer. 

\ 
A  respite  -  was  therefore  sent, 

\ 
once,      and  twice,      and  thrice, 

\ 
to  give  time, 

/ 

as  the  Attorney  General     has  already  stated, 

\ 
for  his  Excellency  -  to  consider, 

/ 
whether  mercy  -  could  be  extended  to  him, 

\ 
or  not ; 

\ 
and  with  a  knowledge  -  of  all  these  circumstances, 

his  Excellency  -  didjinatty  determine, 

\ 
that  mercy      should  NOT  be  extended  to  him  ! 

/ 
He  was  accordingly  -  executed,  -  upon  that  verdict, 

and  died 

with  a  prayer  -  for  the  welfare  of  his  country.  \ 


LOGICAL    EMPHASIS.  271 

\ 

It  is  upon  the  Lord  Lieutenant  of  Ireland,  then,     gentlemen, 

tion  ;\ 
that  the  attack  has  been  made,      by  the  author  of  this  publica- 

/ 
and  against  him, 

\ 
the  charge  is  made,  \ 

[express  it, 
as  strongly,      I  suppose,      as  the  writer  could  find  words  to 

"that  the  Viceroy  of  Ireland 

\ 
has  cruelly  abused 

the  prerogative  of  royal  mercy, 
in  suffering  a  man, 

under  such  circumstances, 

\/ 
to  perish      like  a  common  malef  actor  "\ 

\/ 

For  this, 

the  Attorney  General      calls  upon  you, 

to  pronounce  the  publication, 

\ 
a  false  -  and  scandalous  libel. 

CURRAN. 

. 

The  following  indignant  burst  in  the  British  parliament,  ex- 
emplifies the  emphasis  of  pointed  affirmation,  in  a  statement  in 
reply.  It  also  exhibits  contrast  and  climax. 

/ 
"  They      planted  -  by  YOUR  care  ?" 

\ 
No; 

\ 
your  oppressions  -  planted  them  in  America. 


272 


EXPOSITION     OF     THOUGHT. 


\ 


\ 


\ 

They  fled  -  from  your  tyranny, 

to  a  then  -  uncultivated  -  and  inhospitable  country, 

where  they  exposed  themselves, 

to  almost  all  the  hardships  -  to  which  human  nature  is  liable  ; 

and  among  others, 

to  the  cruelties      of  a  savage  foe, 

the  most  subtle, 

and  I  will  take  it  upon  me  to  say, 


\ 


\ 


the  most  formidable, 


\ 


of  any  people  -  upon  the  face  of  the  earth; 

\ 
and  yet, 

actuated  -  by  principles  -  of  true  English  liberty, 

\ 
they  met  all  these  hardships      with  pleasure, 

compared  with  those  -  they  suffered  in  their  own  country, 

\/ 
from  the  hands  of  those  -  who  should  have  been 

\ 
their  friends. 

-•/->: 

They      nourished  up  -  by  YOUR  indulgence? 

\ 
They  grew  -  by  your  neglect  of  them. 

/ 

As  soon  as  you  began  to  care  about  them, 

that  care  was  exercised      in  sending  persons  to  rule  them, 


LOGICAL    EMPHASIS. 


273 


in  one  department  and  another,  \ 

[bers  of  this  house ; 

who  were,  perhaps,  the  deputies      of  deputies      to  some  mem- 

\ 
sent  -  to  spy  out  their  liberties, 

\ 
to  misrepresent  their  actions, 

\ 
and  to  prey  upon  them ; 

men,  -  whose  behavior,      on  many  occasions, 

has  caused  the  blood  of  those  sons  of  liberty, 

\ 
to  recoil  within  them ; 

men  -  promoted  to  the  highest  seats  of  justice, 

some  of  whom, 

\ 
to  my  knowledge, 

were  glad, 

/ 

by  going  to  a  foreign  country, 

\/ 
to  escape  being  brought  to  the  bar  of  a  court  of  justice, 

\ 

in  their  own. 

/ 
They      "protected  -  by  YOUR  ARMS? 

\ 
They  have  nobly  taken  up  arms  -  in  your  defense ; 

they  have  exerted  their  valor, 

amidst  their  constant  and  laborious  industry, 

for  the  defense  of  a  country, 

/ 
whose  frontier      was  drenched  in  blood, 

24 


274  EXPOSITION    OF    THOUGHT. 

while  its  interior  parts, 

yielded  all  its  little  savings, 

V 

to  your  emoluments. 

\ 
And,      believe  me; 

\ 
remember      I  this  day  -  told  you  so ; 

that  the  same  spirit  of  freedom, 

/ 
which  actuated  that  people,      at  fast, 

\ 
will  accompany  them  -  stiH 

Col.  BARRE. 

2.  NEGATION  CONTRASTED  WITH  AFFIRMATION. 

Almost  the  whole  of  the  following  vigorous  passage,  illus- 
trates this  contrast.  It  concludes  with  a  condition  and  its  con- 
sequence. 

/ 

Parliament      is  not  a  congress  -  of  ambassadors, 

/ 
from  different  -  and  hostile  -  interests, 

/ 
which  interests       each  must  maintain, 

/ 
as  an  agent  -  and  advocate, 

/ 

against  other  agents  and  advocates ; 

but  Parliament      is  a  deliberative  assembly  -  of  one  nation, 

\ 
with  one  interest, 

\ 
that  of  the  whole ; 

/ 
where,      not  -  local  purposes, 


LOGICAL    EMPHASIS.  275 

/ 

not  -  local  prejudices,      ought  to  guide, 

\ 
but  the  general  good, 

\ 
resulting      from  the  general  reason  -  of  the  whole. 

/ 
You  choose  a  member,      indeed, 

but  when  you  have  chosen  him, 

/ 
he  is  not  a  member  of  Bristol, 

\ 
but  he  is  a  member  of  Parliament. 

If  the  local  constituent 
should  have  an  interest, 

or  should  form  a  hasty  opinion, 

/ 
evidently  opposite      to  the  real  good  -  of  the  rest  of  the  com- 

/  [munity, 

the  member  for  that  place, 

\ 

ought  to  be  as  far  as  any  other, 

from  any  endeavor  -  to  give  it  effect. 

BURKE. 

3.  CONDITION  AND  CONSEQUENCE. 

The  following  is  a  remarkable  passage.  The  first  paragraph 
is  made  up  of  a  lengthened  condition,  followed  by  its  conse- 
quence. In  the  second  paragraph,  both  the  condition  and  the 
consequence,  are  in  the  form  of  questions. 

If  it  be  true, 

that  Mr.  Hastings  was  directed     to  make  the  safety  andprosper- 

/ 
[ity  of  Bengal,  the  first  object  of  his  attention, 


276  EXPOSITION    OF    THOUGHT. 

/  [perous ; 

and  that,  under  his  administration,      it  has  been  safe  and  pros- 

/ 

[sions  and  revenues  in  Asia, 

if  it  be  true     that  the  security  and  preservation  -  ofourposses- 

/ 

[government, 
were  marked  out  to  him      as  the  great  leading  principles  of  his 

and  that  those  possessions  and  revenues, 

/ 
amidst  unexampled  dangers, 

/ 

'have,  been  secured  and  preserved ; 

\/ 
then 

a  question      may  be  mixed  with  your  consideration, 

\ 
much  beyond  the  consequence  of  the  present  prosecutiont 

involving,  perhaps, 

\ 
the  merit  of  the  impeachment  itself  t 

\ 
which  gave  it  birth. 

If  England, 

/ 
from  a  lust  of  ambition  and  dominion, 

/ 

mil  -  insist 

/ 
on  maintaining  despotic  rule      over  distant  and  hostile  nations, 

[herself, 
beyond  all  comparison,      more  numerous  and  extended  than 

and  give  commission  to  her  viceroys  -  to  govern  them, 

/ 

with  no  other  instructions  -  than  to  preserve  them, 


LOGICAL    EMPHASIS.  277 


and  to  secure  permanently  their  revenues  ; 

with  what  color  of  consistency  or  reason, 

\ 
can  she  place  herself  -  in  the  moral  chair, 

\/ 

and  affect  to  be  shocked 

\ 
at  the  execution  -  of  her  own  orders, 

\  [necessary  to  their  execution  — 

adverting  to  the  exact  measure  -  of  wickedness  and  injustice  - 

\ 
and  complaining  only  of  the  excess,      as  the  immorality  — 

/ 
considering  her  authority, 

as  a  dispensation 

for  breaking  the  commands  of  God, 

\/ 
and  the  breach  of  these, 

as  only  punishable 

\ 
when  contrary  to  the  ordinances  -  of  man? 

\/ 
.    Such  a  proceeding,      Gentlemen, 

\ 
begets  serious  reflections. 

It  would  be  better,  perhaps, 

\ 
for  the  masters      and  -  the  servants, 

of  all  such  governments, 

to  join  in  supplication, 

that  the  great  Author  -  of  violated  humanity, 

may  not  confound  them  together, 

in  one  common  judgment. 

ERSKINE. 

24* 


273  EXPOSITION    OF    THOUGHT. 


4.  CONCESSION  AND  DENIAL. 

In  the  latter  part  of  the  following  extract,  we  have  marked 
several  of  the  emphases,  with  the  wave,  or  inverted  circumflex. 
Throughout  the  whole  passage,  the  contrasts  will  be  obvious. 
The  appropriate  inflexions  will  be  successfully  given  by  the 
speaker,  if  he  enters  earnestly  into  the  argument. 

/ 
It  ought  to  be  the  happiness  -  and  glory  -  of  a  representative, 

/ 

to  live  -  in  the  strictest  union, 

/ 
the  closest  correspondence, 

\> 
and  the  most  unreserved  communication 

\ 
with  his  constituents. 

Their  wishes 

/ 
ought  to  have  great  weight  with  him ; 

/ 
their  opinion,     high  respect, 

/ 
their  business, 

\ 
unr emitted  attention. 

/ 
It  is  his  duty,      to  sacrifice  his  repose, 

/ 
his  pleasures, 

/ 
his  satisfactions, 

\ 
to  theirs ; 

/ 
and,  above  all, 

/ 
ever,      and  in  all  cases, 

\/ 
to  prefer  their  interests 


LOGICAL     EMPHASIS.  279 


\ 

to  his  own. 

\/ 
But,      his  unbiassed  opinion, 

\/ 
his  mature  judgment, 

\/ 
his  enlightened  conscience, 

/\ 

he  ought  not  -  to  sacrifice  — 

to  you, 

\ 
to  any  man,      or  to  any  set  of  men  living. 

X\ 

These      he  does  not  derive 

/ 
from  your  pleasure  — 

\ 

"'' 

nor  from  the  law  -  and  the  constitution. 

/\ 
They  are  a  trust  from  Providence, 

/ 
for  the  abuse  of  which, 

\ 
he  is  deeply  answerable. 

Your  representative  owes  you, 

/ 
not      his  industry  only, 

\ 
but  his  judgment  ; 

\ 
and  he  betrays, 

/ 
instead  of  serving  you, 

/ 
if  he  sacrifices  it 

\ 
to  your  opinion. 


BURKE. 


280  EXPOSITION    OF    THOUGHT. 

5.  QUESTION  AND  ANSWER. 

The  following  is  a  continuation  of  the  extract,  in  a  previous 
chapter,  on  "  Conciliating  America."     Vide  p.  245. 

Do  you  imagine,      then, 
that  it  is  the  land  tax 
which  raises  your  revenue  ? 

that  it  is  the  annual  vote      in  the  committee  of  supply, 
which  gives  you  your  army  ? 
or  that  it  is  the  mutiny  bill 

which  inspires  it  with  bravery  and  discipline  ? 

\ 
No! 

\ 
surely  no ! 

It  is  the  love  of  the  people : 

it  is  their  attachment  to  their  government, 

\  [ous  institution, \ 

from  the  sense  of  the  deep  stake  -  they  have,      in  such  a  glori- 

which  gives  you  your  army  and  your  navy, 
and  infuses  into  both,      that  liberal  obedience, 

without  which, 

.\ 

your  army      would  be  a  base  rabbk, 

\ 
and  your  navy      nothing  but  rotten  timber. 

BURKE. 

6.  ANTITHETICAL  CONTRAST. 

The  following  passage  is  the  conclusion  of  the  last  extract. 
The  first  two  periods  are  in  contrast  with  each  other.     In  each 


LOGICAL    EMPHASIS.  281 

of  the  three  concluding  sentences,  we  have  an  antithetical  con- 
trast of  ideas. 

MAGNANIMITY    IN   POLITICS. 
/ 

All  this, 

I  know  well  enough, 

/\ 
will  sound  wild, 

/\ 
and  chimerical, 

/  /         [cians, 

to  the  profane  herd     of  those  vulgar     and  mechanical  -  politi- 

/ 
who  have  no  place  -  among  us, 

a  sort  of  people      who  think  that  nothing  -  exists, 

/ 
but  what  is  gross      and  material, 

and  who,  therefore, 

far  from  being  qualified      to  be  directors 

/ 
of  the  great  movement  -  of  empire, 

/\ 

are  not  fit  -  to  turn  a  wheel  -  in  the  machine. 

\/ 

But     to  men  -  truly  initiated, 

\/ 
and  rightly  taught, 

these  ruling  and  master  principles, 

which,  in  the  opinion  of  such  men  as  I  have  mentioned, 

/ 
have  no  substantial  existence, 

\ 
are,  in  truth,  every  thing, 

\ 
and  all  in  all. 


282  EXPOSITION    OF    THOUGHT. 

/ 

Magnanimity,      in  politics, 

\ 
is,  not  seldom,      the  truest  wisdom  ; 

\/ 
and  a  great  empire,      and  little  minds, 

\ 
go  itt  together. 

/ 
Let  us  get  an  American  revenue, 

as  we  have  got  an  American  empire. 

English  privileges 

/ 
have  made  it  all  that  it  is  ; 

English  privileges,  alone, 

\/ 

will  make  it, 

/\ 
all  that  it  can  be. 

BURKE. 

CROMWELL  AND  NAPOLEON. 

The  following  extract  from  Macaulay,  exhibits  the  utmost 
degree  of  his  peculiar  antithetical  style.  Considerable  skill  and 
judgment  may  be  exercised  in  its  delivery,  by  occasionally  di- 
minishing the  emphatic  force,  and  thus  making  the  whole  run 
smoothly. 

In  the  general  spirit  -  and  character  -  of  his  administration, 

/ 
we  think  Cromwell 

\ 
far  superior      to  Napoleon. 

Reason  and  philosophy 

did  not  teach  the  conqueror  of  Europe, 


LOGICAL    EMPHASIS. 


283 


to  command  his  passions, 

or  to  pursue,      as  a  first  object, 

\ 
the  happiness  of  his  people. 

They  did  not  prevent  him     from  risking  his  fame  and  his  power, 

in  a  frantic  contest      against  the  principles  -  of  human  nature, 

\ 
and  the  laws  -  of  the  physical  world; 

against  the  rage  of  the  winter, 

\ 
and  the  liberty  of  the  sea. 

[nicious  of  superstitions, 
They  did  not  exempt  him     from  the  influence  of  that  most  per- 

\ 
a  presumptuous  fatalism. 

They  did  not  preserve  him     from  the  inebriation  of  prosperity, 

or  restrain  him      from  indecent  querulousness  -  and  violence, 

\ 

in  adversity. 

On  the  other  hand, 

the  fanaticism  -  of  Cromwell 

never  urged  him      on  impracticable  undertakings, 

\ 
or  confused  his  perception  -  of  the  public  good. 

Inferior  to  Bonaparte,      in  invention. 

\ 
he  was  far  superior  to  him,      in  wisdom. 

The  French  Emperor      is,  among  conquerors, 
what  Voltaire      is,  among  writers, 


284  EXPOSITION    OP    THOUGHT. 

\ 

a  miraculous  child. 

His  splendid  genius 

was  frequently  clouded      by  Jits  of  humor, 

as  absurdly  perverse, 

\ 
as  those  of  the  pet  of  the  nursery, 

/ 
who  quarrels  with  his  food. 

\ 
and  dashes  his  playthings  -  to  pieces. 

\/ 

Cromwell 

/\ 
was,  emphatically,      a  man. 

He  possessed,      in  an  eminent  degree, 

\ 
that  masculine      and  full  grown  -  robustness  of  mind, 

\ 
that  equally  diffused  intellectual  health, 

which,  if  our  national  partiality      does  not  mislead  us, 

has  peculiarly  characterized 

\ 
the  great  men  of  England. 

Never  was  any  ruler 

\ 
so  conspicuously  born  for  sovereignty. 

/ 
The  cup      which  has  intoxicated  almost  all  others, 

\/          /\ 
sobered     him. 

/ 
His  spirit,      restkss  from  its  buoyancy,      in  a  lower  sphere, 

reposed  -  in  majestic  placidity, 

\ 
as  soon  as  it  had  reached  the  level  -  congenial  to  it. 


LOGICAL     EMPHASIS.  285 

He  had  nothing  in  common  -  with  that  large  class  of  men, 

/ 

who  distinguish  themselves     in  lower  posts, 

and  whose  incapacity  becomes  obvious, 

\ 
as  soon  as  the  public  voice      summons  them  to  take  the  lead. 

Rapidly  as  his  fortunes  grew, 

\/ 
his  mind 

\ 

expanded  more  rapidly  still. 

/ 
Insignificant      as  a  private  citizen, 

he  was  a  great  -  general; 

he  was  a  still  greater  •  prince. 

MACAULAY. 

7.  REFERENTIAL  EMPHASIS. 

This  emphasis  is  a  variety  of  that  of  Contrast.  Some  ac- 
count of  it  has  been  given  under  the  head  of  Rising  Inflexions, 
at  p.  235.  But  as  it  often  characterizes  long  passages,  or  even 
an  entire  discourse,  it  requires  some  further  notice. 

When  a  speaker  advances  assertions  or  doctrines  in  opposi- 
tion to  an  adversary,  or  contrary  to  a  prevalent  opinion,  his  tone 
is  characterized  by  a  peculiar  modulation,  which  indicates  a 
pointed  reference.  The  same  tone  is  likewise  heard,  when  he 
is  liable  to  a  suspicion  of  holding  opinions  contrary  to  what  he 
expresses.  Though  it  runs  through  the  whole  of  his  delivery, 
yet  it  is  of  course  most  striking  on  emphatic  words. 

Rising  inflexions  are  the  most  prevalent  and  characteristic; 
and,  as  was  mentioned  in  the  previous  chapter,  often  take  the 
place  of  cadences  at  the  ends  of  sentences.  There  is  a  ten- 
dency, likewise,  to  use  waves  and  circumflexes.  When  falling 

25 


286  EXPOSITION    OF    THOUGHT. 

inflexions  are  actually  necessary,  they  begin  on  a  high  key,  and 
are  often  such  as  we  mark  by  the  wave. 

In  gesture,  the  rise  of  the  hand  corresponds  in  a  general  way 
to  that  of  the  voice.  Instead  of  downward  strokes  of  gesture, 
one  or  both  hands  are  oftener  extended  towards  the  audience 
with  the  expression  of  appeal. 

We  find  it  impossible  to  mark  this  emphasis,  so  as  to  distin- 
guish it  from  other  forms  of  contrast,  except  by  indicating  the 
upward  skip  which  so  strikingly  characterizes  it.  This  we 
effect  by  placing  the  accented  syllable  higher  than  the  rest  of 
the  phrase.  No  difficulty  will  be  experienced  in  executing  this 
very  striking  and  significant  turn  of  the  voice,  provided  the 
reader  trusts  boldly  to  his  natural  impulses.  It  is  one  of  very 
frequent  use  in  conversation. 

THE    UNION. 

I  prof™'      Sir, 
in  my  career  -  hitherto, 
to  have  kept  steadily  in  view, 

the  honor  -  and  prosperity      of  the  u     <e  country, 

/\ 
and  the  preservation  -  of  our  federal  union. 

I  have  not  dtowed  myself 
\/ 

to  look  \*3ond  the  union, 

\/ 

to  see  what  might  be  hidden      in  the  dark  recess  be  lt 

I  have  n        coolly  weighed  the  chances  -  of  preserving  liberty, 

when  the  bonds  -  that  unite  us  together    shall  be  broken  a5Mnder. 


LOGICAL     EMPHASIS.  287 

I  have  not  accustomed  myself     to  hang  over  the  precipice  - 


•       /  [of  Bunion, 

to  see,  whether,  -  with  my  short  sight, 

\/ 
I  can  fathom  the  depth  of  the  abyss  -  be 

/  [this  government, 

nor  can  I  regard  him  -  as  a  safe  counsellor,  -  in  the  affairs  of 

whose  thoughts  -  should  be  mainly  bent  on  considering 

\/ 
not     how  the  union  -  should  be  best  pre56™"*' 

/ 
but  how  °  erdble      might  be  the  condition  of  the  people, 

/\ 
when  it  shall  be  broken  up      and  destroyed' 


While  the  union 

we  have  U&> 

\ 
exiting 

\ 
£r    ifying  prospects 

/ 
spread  out  -  before  us, 

for  us> 

\ 

and  our  cMdren. 

Bey°nd  that, 

\ 
I  seek  not  to  penetrate  the  veil. 


EXPOSITION     OF    THOUGHT. 

God  grant ! 
/ 
that,  in  my  day,  at  least,  • 

\ 
that  curtain      may  not  rise. 

God  grant, 
/ 

that,  on  7  y  vision, 
never  -  may  be  opened 

what  lies  behind! 

[sun  in  heavent 
When  my  eyes  shall  be  turned    to  behold,  for  the  last  time,    the 

/ 

T  not         i  • 
may  I         see  him, 

T 

shining  on  the  broken  -  and  dis    nored  fragments 

/ 

r    once    ••    •        u  • 
of  a          glorious     mon ; 

/ 

C£*V 

on  states     dis     ered, 

/ 

discordant, 
\/ 

ber Cerent, • 

/ 
on  a  land      rent  with  civil  *™  5j 

\/ 

and  drenchedt      it  may  be,      in  fraternal 

let  their  last  -  feeble  and  lingering  glance,      rather, 

behold  the  gorgeous  ensign  of  the  republic, 

now  known  and  honored  throughout  the  earth, 


LOGICAL    EMPHASIS.  289 


\ 

stitt  full  high  advanced,\ 

its  arms  and  trophies 

\ 

streaming  in  all  their  original       tre, 

/\ 
not  a  stnpe  -  erased  or  polluted,  \ 

/\ 
nor  a  single       r  obscured  ;\ 

bearing,  for  its  motio, 

/ 

0  such  miserable  interrogatory, 

\/ 
as,  What  is  all  this 

/\ 
nor  those       er  words  -  of  delusion  and  folly,  \ 

/\ 
liberty  ^rst      and  union  a^terwards  ; 

\ 
but  every  where, 


spread  all  over      in  characters  of  living 
/ 

azing  on  all  its  ample  folds, 


\ 
&    ' 


as  they  float  over  the  sea  and  over  the  land> 

/ 
and  in  every  wind  under  the  whole  heaven> 

/\ 
that  °    er  sentiment,  \ 

/ 
dear  to  every  true  American  heart, 

25* 


290  EXPOSITION     OF    THOUGHT. 

/\ 

...  and 

liberty  union, \ 

\ 

now,  ,  r  ev 

and  for    ert 

\ 
one      and  inseparable. 

WEBSTER. 


8.  CORRESPONDENCE. 

The  principle  of  this  emphasis,  as  also  its  inflexion,  is  very 
similar  to  that  upon  an  answer  to  a  question. 

It  may  be  illustrated  by  a  short  extract  from  a  Scripture  nar- 
rative. A  command  to  Noah  being  recorded,  and  the  account 
of  it  extending  through  four  verses,  when  we  come  to  its  fulfil- 
ment, we  shall  find  it  natural  to  emphasize  the  word  didt  as 
follows. 

And  the  Lord  said  unto  Noah : 
Come  thou,  and  all  thy  house 

into  the  ark:     *     *     *     * 

*     *     * 

And  Noah  did 

according  to  all  that  the  Lord  commanded  hirn.\ 

In  the  above,  the  most  striking  place  for  this  emphasis,  is  on 
"  did;"  but  if  the  reader  prefers,  he  may  place  it  on  commanded. 

The  following  extract  is  in  the  highest  degree  rhetorical,  and 
like  that  just  quoted  from  Webster,  admirably  illustrates  the 
importance  of  emphasis  and  inflexion,  in  bringing  out  the  true 
meaning  and  spirit  of  high  wrought  composition.  In  general, 
its  emphasis  is  required  by  the  principle  of  Reference ;  just  as 
in  the  preceding  extract  on  union,  regard  is  continually  had  to 


LOGICAL    EMPHASIS.  291 

those  who  speculate  upon  disunion.  The  writer  refers  to  the 
danger,  that  those  who  enjoy  the  blessings  transmitted  by  the 
Puritans,  may  naturally  forget  their  sufferings. 

But  in  one  sentence,  the  emphasis  on  every  phrase,  is  that  of 

Correspondence.     This  sentence  commences,  "  They  did  vir- 

tually renounce  all  dependence  upon  earthly  support,"  &c. 

That  is,  their  conduct  emphatically  corresponded  to  their  pro- 

fessions. 

THE    PILGRIMS. 

/ 

In  the  quiet  possession     of  the  blessings  transmitted, 

/ 

we  are,  perhaps,      in  danger  -  of  footing, 
/ 

i   val  . 
or  under      uing 

/  / 

the  suJferings      by  which  they  were  obtained. 


that  the  noble  pilgrims      lived  and  endured  for  u 

that,  when  they  came  to  the  wilderness, 
\ 

they  said  truly, 

/ 
though,  it  may  be,  -  somewhat  quaintly, 

\ 
that  they  turned  their  backs  on  Egypt. 

\ 
They  did 

\ 
virtually  renounce       all  dependence  -  on  earthly  support  : 

\ 
they  left 


292  EXPOSITION     OF     THOUGHT. 

the  land  of  their  birth,\ 
of  their  homes,  \ 

of  their  fathers'  sepulchers  ;\ 

\ 
they  sacrificed  ease, 

\ 
and  preferment, 

\ 
and  all  the  delights  of  sense. 

\ 
And  for  what  1 

/ 
To  open  for  themselves       an  earthly  paradise  ?  — 

/ 

to  dress  their  bowers  of  pleasure, 

/ 

and  rejoice  -  with  their  wives  and  children  ? 

No; 


they  came  not      for  themselves> 

\ 
they  lived  not   °  themselves. 

An  exiled      and  suffering  -  people, 

they  came  forth 

/\ 
in  the  dignity      of  the  chosen  servants  -  of  the 

to  open  the  forests       to  the  sunbeam 

\ 

and  to  the  light  -  of  the  sun  of  n^    eousness  ; 

\ 

to  restore 


LOGICAL    EMPHASIS.  293 

oppressed  -  and  trampled  on  -  by  his      lows, 
\ 

,    .  .,  Kb 
to  religious  and  civil      erty, 

\ 

.  rights  ; 
and  equal 

\ 

kv 
to  replace  the  creatures  of  God      on  iheir  natural      el; 

^    hills 
to  bring  down  the 

and  make  smooth  -  the  rough  ^ 

\ 

which  the  pride  and  cruelty  of  had  wrought, 

on  the  fair  creation  -  of  the  Father  of  all. 
\ 

What  was  their  re°° 

'  tune? 
For 

,.    /  tions  ? 
distinc 

/ 

-homel 
the  sweet  charities  -  of 

/\ 

No—  \ 

but  their  feet  -  were  planted  on  the  mount  of      ion, 

and  they  saw,      with  sub 

\ 

a  multitude  of       pie, 

where  the  solitary  savage  -  roamed  the  forest  ;\ 


294  EXPOSITION    OF    THOUGHT. 

\ 

van .  ,    ¥ 
the  forest        ished, 

\ 

and  pleasant      lages       and  busy      ies       appeared ; 
/ 

foot 
the  tangled  J      path 

expanded  -  to  the  thronged      3  way ; 

\ 

.  church 
the  consecrated 

was  planted  -  on  the  rock  of  heathen  sacrifice. 
/\ 

And,  that  W& 

might  realize  -  this  vision, \ 

\ 
in 
enter     to 

this  promised  land  of  faith,  \ 

they  endured  hardship      and  braved  death,  \ 

deeming, 

as  said  one  of  their  company, 

aU 
that  "  he  is  not  worthy  -  to  live  at 

who,      for  fear  of  danger,  -  or  death, 

/ 
shunneth  his  country's  -  service, 

\ 

or  his  own  -  honor ; 

/ 
since  death       is  inevitable, 

\ 
and  the  fame  of  virtue       immortal" 


LOGICAL    EMPHASIS.  295 

/ 

If  these  were  the  fervors  of  enthusiasm, 

/ 

it  was  an  enthusiasm  -  kindled  and  ™( 

\ 

by  the  holy  flame      that  glows  on  the  altar  of 

\ 

an  enthusiasm  -  that  never  a 
but  gathers  life  and  strength, 

as  the  immortal  soul 

\ 

expands  -  in  the  image  of  its  Ore  tor. 

Miss  SEDGWICK. 

9.  INTENSIVE  EMPHASIS. 

A  glowing  and  ardent  writer  often  falls  into  a  style  of  com- 
position, in  which  words  are  employed  with  an  intensive  mean- 
ing. A  reader  who  fails  to  sympathize  with  the  deep  earnest- 
ness of  such  composition,  is  apt  to  omit  the  intensive  emphasis 
which  is  required. 

The  principle  of  this  emphasis,  will  be  made  clear  by  the 
following  facts  in  regard  to  language.  In  every  tongue,  there 
is  a  class  of  words  which  have  either  an  intense  meaning  in 
themselves,  or  indicate  that  those  which  they  qualify,  are  used 
intensively. 

The  most  common  in  English,  are:  even,  very,  and  self; 
the  adverbs  at  all,  altogether,  only,  solely,  wholly,  and  univer- 
sally ;  the  pronouns  whatever  and  whosoever,  when  placed  after 
their  nouns;  and,  occasionally,  adjectives  in  the  superlative 
degree. 

The  intensive  emphasis  indicated  by  the  word  even,  is  almost 
always  effected  by  a  strong  falling  inflexion;  and  it  will  be 


296  EXPOSITION     OF    THOUGHT. 

found  a  useful  rule  to  employ  such  an  inflexion,  whenever  this 
word  occurs ;  or  whenever  it  would  be  allowable  to  introduce 
it,  for  the  sake  of  setting  forth  the  full  force  of  a  passage. 
Sometimes,  indeed,  a  circumflex  takes  the  place  of  a  simple 
falling  slide ;  but,  in  such  cases,  the  first  or  downward  slide, 
indicates  the  intensive  force,  and  the  rising,  the  suspension  of 
the  sense. 

The  first  example  which  we  furnish,  has  its  intensive  empha- 
ses indicated  by  even,  by  the  word  whole,  and  by  a  superlative 
degree. 

An  exhibition  -  of  the  present  state  -  of  the  mechanical  arts, 

\/ 

is  a  field  much  too  wide     even  to  be  entered     on  this  occasion. 

\ 
The  briefest  outline  even, 

would  exceed  its  limits;  \ 

\ 
and  the  whole  subject 

will,  regularly,      fall  to  hands  -  much  more  able  to  sustain  it. 

\/ 

The  slightest  glance,  however, 

must  convince  us, 

that  mechanical  power,      and  mechanical  skill, 

as  they  are  now  exhibited,      in  Europe  and  America, 

mark  an  epoch  -  in  human  history, 

worthy  of  all  admiration. 

WEBSTER. 

Our  next  extract  owes  the  whole  of  its  peculiar  force  and  sig- 
nificancy  to  intensive  words,  which  require  a  correspondent 
style  of  emphasis. 


LOGICAL    EMPHASIS.  297 


ATHEISM. 

\ 

But,  indeed,      it  is  heroism     no  longer, 

\ 
if  the  atheist     knows  -  that  there  is  no  God. 

This  intelligence 

\ 
involves  the  very  attributes  -  of  divinity, 

while  a  God      is  denied. \ 

\ 
For  unless  the  atheist      is  omnipresent, 

unless  he  is,      at  this  moment,     in  everyplace  -  in  the  universe, 

NX 
he  cannot  know      but  that  there  may  be,     in  some  place, 

manifestations  of  a  Deity, 

\ 
by  which      even  he      would  be  overpowered. 

If  he  does  not  know,     absolutely,    every  agent  -  in  the  universe, 

the  one  that  he  does  not  know, 

may  be      God. 

\ 
If  he  is  not  himself     the  chief  agent  -  in  the  universe, 

\ 
and  does  not  know  what  is  so, 

that  which  is  so 

may  be      God.  \ 

[constitute  universal  truth, 
If  he  is  not  in  absolute  possession     of  all  the  propositions  -  that 

NX 

the  one  which  he  wants 

may  be      that  there  is  a  God. 

26 


298  EXPOSITION     OF    THOUGHT. 

If  he  cannot,      with  certainty, 

\ 
assign  the  cause  -  of  all  that  he  perceives  to  exist, 

that  cause 

may  be      a  God.  \ 

[measurable  ages  that  are  past, 
If  he  does  not  know     every  thing  that  has  been  done  -  in  the  im- 

some  things      may  have  been  done 

by  a  God. 

\ 
Thus,      unless  he  knows  all  things,    - 

\ 
that  is,      precludes  another  Deity  -  by  being  one  himself, 

he  cannot  know, 

that  the  Being  -  whose  existence  he  rejects, 

does  not  exist. 

JOHN  FOSTER. 

Our  next  extract  is  from  the  same  powerful  writer.  To  de- 
monstrate the  correctness  of  our  emphases,  we  insert  a  blank 
parenthesis  in  places  where  the  word  EVEN  might  be  inserted. 
Most  of  the  emphases  that  are  not  intensive,  exhibit  antithetical 
contrasts. 

CHARACTER    OF    HOWARD. 

In  decision  of  character, 

no  man      ever  exceeded, 

\/ 

or  (  )  ever  witt  exceed 

the  late  illustrious  Howard. 

The  energy  of  his  determination      was  so  great, 


LOGICAL    EMPHASIS.  299 

that  if,      instead  of  being  habitual,  / 

[casions, 

it  had  been  shown  -  only  for  a  short  time,     on  particular  oc- 

\ 
it  would  have  appeared  (  )  a  vehement  impetuosity ; 

but  by  being  unintermitted, 

it  had  an  equability  -  of  manner, 

\ 

which  scarcely  appeared  to  exceed    the  tone  of  (  )  a  calm  con- 
b  [stancy, 

it  was  so  totally  the  reverse 

of  any  thing  like  turbulence, 

\ 
or  agitation. 

It  was  the  calmness  -  of  an  intensity      kept  uniform 

\/ 

(  )  by  the  nature  -  of  the  human  mind, 


forbidding  it  -  to  be  wore, 


\/ 


and  (  )  by  ike  character  -  of  the  individual, 

\ 
forbidding  it  to  be  less. 

(  )  The  habitual  passion 

/ 
of  his  mind, 

was  a  measure  of  feeling 


\ 


almost  equal  (  )  to  the  temporary  extremes  -  and  paroxysms 

\ 
of  common  minds : 

\ 
as  a  great  river, 

in  its  customary  state, 


300  EXPOSITION     OF    THOUGHT. 


is  equal  to  a  small     or  moderate  one, 
(  )  when  swollen  to  a  torrent. 

The  moment  -  of  finishing  his  plans,      in  deliberation, 

/ 
and  commencing  them,      in  action, 

\ 
was  (  )  the  same. 

\ 
We  (  )  wonder      what  must  have  been  the  amount 

of  that  bribe, 

in  emolument,      or  pleasure, 

\ 
that  would  have  detained  him  (  )  a  week 

/ 
inactive, 

after  their  final  adjustment. 

\ 
(  )  The  law  which  carries  water  down  a  declivity, 

was  not  more  unconquerable  -  and  invariable, 

[object. 
than  (  )  the  determination  of  his  feelings  -  towards  the  main 

The  importance  -  of  this  object, 

held  his  faculties      in  a  state  of  excitement, 

\ 
which  was  (  )  too  rigid     to  be  affected  by  lighter  interests, 

and  on  which,  therefore,      the  beauties  of  nature  and  art 

had  no  power. 

\ 
He  had  no  leisure  feeling      which  he  could  (  )  spare, 

/ 

[sive  scenes  which  he  traversed  ; 
to  be  diverted  among  the  innumerable  varieties      of  the  exten- 


LOGICAL    EMPHASIS.  301 

all  his  subordinate  feelings 

/ 
lost      their  separate  existence, 

by  falling  into  the  grand  one. 

Such  a  sin  against  taste 

\/ 

is  (  )  very  far  beyond  the  reach  of  common  saintship      to  commit. 

It  implied  an  inconceivable  severity  of  conviction 

that  he  had  (  )  one  thing  to  do. 

and  that  he  who  would  do  some  one  great  thing, 

in  this  short  life, 

[his  forces, 
must  apply  himself  to  the  work,      with  such  a  concentration  of 

as,  to  idle  spectators, 

who  live  only  to  amuse  themselves, 

\ 
looks  (  )  like  insanity. 

His  attention   was  so  strongly  and  tenaciously  fixed  on  his  object, 

\ 
that  even  at  the  greatest  distance, 

like  the  Egyptian  pyramids      to  travellers, 

it  appeared  to  him  -  with  a  luminous  distinctness, 

\ 

as  if  it  had  (  )  been  nigh, 

and  beguiled      the  toilsome  length  of  labor  and  enterprise, 
by  which  he  was  to  reach  it. 

It  was  so  conspicuous  before  him, 
26* 


302  EXPOSITION    OF    THOUGHT    . 

\/ 

that  not  (  )  a  step 

deviated  from  the  direction, 

\/ 
and  (  )  every  moment,      and  every  day, 

was  an  approximation. 

[the  end, 
As  his  method     referred  every  thing  he  did  and  thought      to 

/ 
and  as  his  execution      did  not  relax  for  a  moment, 

lie  made  the  trial,      so  seldom  made, 
what  is  the  utmost  effect, 

which  may  be  granted  (  )  to  the  last  possible  efforts 

\ 
of  a  human  agent ; 

and,  therefore,      what  he  did  not  accomplish  \ 

[activity, 
he  might  conclude  -  to  be  placed  beyond  the  sphere  of  mortal 

and  calmly  leave 

\ 
(  )  to  the  immediate  disposal  of  Omnipotence. 

JOHN  FOSTER, 
10.  EMPHASIS  OF  REMONSTRANCE. 

This  is  a  common  mode  of  enforcing  an  argument  or  a  state- 
ment. The  principle  is  really  the  same  as  that  of  Reference ; 
the  only  difference  being  that  the  reference  is  to  nothing  more 
than  the  opposite  of  what  is  affirmed,  without  implying  an  ac- 
tual adversary,  or  generally  prevalent  opinions. 

In  this  style  of  emphasizing,  the  inflexions  are  executed  with 
wide  skips,  which  make  the  voice  vary  strikingly  in  pitch.  In- 
tensive emphases  are  also  of  frequent  occurrence. 


LOGICAL    EMPHASIS. 

The  following  extract,  like  many  others  in  this  volume,  has 
been  found  extremely  interesting,  when  delivered  in  an  appro- 
priate manner,  but  uninteresting  when  spoken  without  the  pe- 
culiar inflexions  which  it  demands.  Like  that  on  "  the  Pil- 
grims," it  might  be  given  to  illustrate  what  might  be  called 
Rhetorical  Emphasis ;  using  such  a  term  to  describe  the  pecu- 
liar illustration  and  enforcement  which  a  good  reader  bestows 
upon  certain  forms  of  composition,  although  the  mere  sense  can 
be  exhibited  without  striking  emphasis. 

SOCIAL   INFLUENCE    OF   RELIGION. 
\ 

Religion      is  a  social  concern ; 

\ 

for  it  operates  powerfully      on  society, 

contributing,      in  various  ways, 

\ 
to  its  stability      and  prosperity. 

/ 
Religion      is  not  merely  -  a  private  affair  ;\ 

\ 
the  community      is  deeply  interested  in  its  diffusion  ;\ 

for  it  is  the  best  support      of  the  virtues  and  principles 
on  which  the  social  order  rests. 

Pure  and  undefiled  religion 

\  *  . 

is  to  do  good ; 

and  it  follows,      very  plainly, 

/ 
that,  if  God      be  the  author  and  friend  of  society, 

then  the  recognition  of  him 

\ 
must  enforce  all  social  duty, 


30 1  EXPOSITION    OF    THOUGHT. 

and  enlightened  piety 

\ 
must  give  its  whole  strength  -  to  public  order. 

/ 
Few  men     suspect, 

\ 

perhaps  no  man 

\/ 

comprehends 

\ 
the  extent  of  the  support      given  by  religion      to  every  virtue. 

S 
No  man,  perhaps,      is  aware, 

how  much  our  moral  and  social  sentiments 

\ 
are  fed  from  this  fountain  ; 

\ 
how  powerless 

/ 

conscience  would  become, 
\ 
without  the  belief  of  a  God; 

how  palsied 

/ 
would  be  human  benevolence, 

/ 
were  there  not  the  sense  -  of  a  higher  benevolence 

\ 
to  quicken      and  sustain  it ; 

\ 
how  suddenly      the  whole  social  fabric  -  would  quake, 

and  with  what  a  fearful  crash 
\ 
it  would  sink  into  hopeless  ruin, 

were  the  ideas      of  a  Supreme  Being, 
of  accountdbleness, 


LOGICAL    EMPHASIS.  305 

and  of  a  future  life, 

\ 
to  be  utterly  erased      from  every  mind. 

\/ 
And,      let  men  -  thoroughly  believe, 

/ 
that  they  are  the  work  and  sport  of  chance; 

/ 
that  no  superior  intelligence 

/ 

concerns  itself  with  human  affairs ; 

that  all  their  improvements 

/ 
perish  forever,      at  death  ; 

that  the  weak     have  no  guardian, 

/ 
and  the  injured     no  avenger  ;  / 

[the  public  good; 
that  there  is  no  recompense  -  for  sacrifices  to  uprightness  and 

/ 
that  an  oath      is  unheard  in  heaven ; 

/ 
that  secret  crimes      have  no  loitness  but  the  perpetrator  ; 

/ 
that  human  existence      has  no  purpose, 

/ 
and  human  virtue      no  unfailing  friend; 

/ 
that  this  brief  life      is  every  thing  -  to  us, 

/ 

and  death      is  total,      everlasting  -  extinction ; 

/ 
once  let  them  THOROUGHLY  -  abandon  religion, 

/ 
and  who  can  conceive, 

\ 
or  describe, 

\ 
the  extent  of  the  desolation  -  which  would  follow! 


306  EXPOSITION     OF    THOUGHT. 

We  hope,  perhaps, 

\ 
that  human  laws, 

*  \ 
and  natural  sympathy, 

would  hold  society  together. 

As  reasonably  -  might  we  believe, 

\ 
that,  were  the  SUN 

quenched  in  the  heavens , 

\ 

our  torches      would  illuminate, 

\ 
and  our  fires     quicken  and  fertilize      the  creation. 

What  is  there  -  in  human  nature, 

to  awaken  respect  and  tenderness, 

\ 

if  man      is  the  unprotected  insect  of  a  day  ? 

\ 

And  what  is  he  more, 

/ 
if  atheism  be  true  1 

/ 
Erase  all  thought  and  fear  of  God,      from  a  community, 

and  selfishness  and  sensuality, 

\ 
would  absorb  the  whole  man. 

Appetite,      knowing  no  restraint, 

and  suffering,      having  wo  solace,  or  hope, 

\ 
would  trample  in  scorn, 

/ 
on  the  restraints  -  of  human  laws. 


EMPHASIS    OF    IMAGINATION.  307 

Virtue, 

duty,  ^ 

principle, 

\ 

would  be  mocked      and  spurned, 

\ 
as  unmeaning  sounds. 

\ 
A  sordid  self  interest 

\ 
would  supplant  every  other  feeling ; 

\ 
and  man  would  become,      in  fact, 

\ 
what  the  theory  of  atheism  -  declares  him  to  be — 

\ 

a  companion  for  brutes. 

CHANNING, 

EMPHASIS  OF  IMAGINATION. 

In  addition  to  the  course  of  reasoning  in  .a  composition,  the 
pictures  displayed  before  the  imagination,  demand  a  prominent 
exhibition.  To  a  great  extent  this  will  be  done,  by  a  correct 
grammatical  and  logical  emphasis,  because  this  will  frequently 
fall  on  the  words  that  express  the  most  important  images. 
But  the  employment  of  a  vivid  state  of  imagination,  will  often 
enable  an  eloquent  reader  or  speaker  to  present  striking  pictures 
of  scenes  and  illustrations,  which  a  merely  logical  state  of  mind 
will  fail  of  exhibiting. 

Yet  however  imaginative  or  poetical  the  subject  and  language 
of  a  composition,  the  primary  effort  must  be  to  exhibit  the 
logical  course  of  thought.  Every  composition  requires  more  or 
less  of  the  inflexions  and  emphases  which  we  have  hitherto  de- 
scribed. The  emphasis  of  imagination  is  properly  an  enforce- 
ment of  such  words  as  do  not  influence  the  course  of  reasoning. 


308  EXPOSITION    OF    THOUGHT. 

It  follows  therefore,  that  it  is  never  given  by  emphatic  inflex- 
ions. It  is  in  fact  executed  solely  by  means  of  quantity,  pause, 
and  variations  in  the  loudness,  or  in  the  quality  of  the  voice. 

By  these  means,  some  words  are  made  more  prominent  than 
others,  so  that,  in  the  mental  picture,  the  images  which  they 
describe,  stand  out  in  bold  relief.  Having  already  remarked 
upon  the  necessity  for  taste  and  judgment  in  this  kind  of  em- 
phasis, the  examples  which  we  shall  furnish,  may  not  always 
exhibit  such  emphatic  words  as  every  one  will  approve. 

We  shall  exhibit  this  emphasis,  by  separating  the  letters  of 
words,  as  has  already  been  done  in  the  chapter  on  rhythm. 
We  shall  thus  have  the  means  of  indicating,  not  only  such 
words  as  have  no  logical  or  grammatical  inflection,  but  also 
those  which  answer  the  double  purpose  of  inflected  emphasis, 
and  that  of  imagination. 

There  is  a  peculiar  appropriateness  in  this  mode  of  marking, 
inasmuch  as  the  emphasis  of  imagination  almost  always  pro- 
longs the  utterance,  and  produces  a  slowness  in  the  rhythm. 

EMPHASIS    OF    EMOTION. 

Under  this  head  are  not  to  be  classed  the  peculiar  tones  of 
different  passions,  but  a  more  striking  presentation  of  words 
which  describe  emotions  and  represent  them  to  the  imagination. 

Readers  of  taste  and  judgment  will  give  different  degrees  of 
enforcement  to  such  words,  according  to  principles  that  are 
purely  artistical. 

This  emphasis  is  therefore  the  same  in  principle  as  the  pre- 
ceding. In  the  one,  emotions,  and  in  the  other,  images  are 
contemplated  by  the  imagination.  It  will  be  marked  in  the 
same  way,  and  our  extracts  will  illustrate  both. 

It  is  obvious  that  by  this  classification,  we  accomplish  the 
necessary  object,  of  avoiding  all  intermingling  of  the  subject  of 
practical  speaking,  with  dramatic  elocution.  The  distinction 
between  the  two,  has  been  alluded  to  in  our  introduction,  and 


EMPHASIS     OP    EMOTION. 

is  essential  to  be  kept  in  view.  An  orator  is  permitted  some- 
times to  introduce  the  peculiar  manner  of  dramatic  elocution, 
as  was  successfully  practised  by  Whitefield  ;  but  he  will  never- 
theless, run  great  risk  in  attempting  to  do  so,  unless,  as  was  the 
case  with  that  eloquent  clergyman,  he  has  a  natural  talent  for 
acting. 

When,  however,  a  reader  is  strongly  interested  in  relating  or 
describing  an  emotion,  he  will  naturally  sympathize  with  it  in 
some  degree.  This  sympathy  will  color  his  delivery  with  more 
or  less  of  the  peculiar  tone  of  the  emotion.  Suppose,  for  in- 
stance, he  is  reciting  Collins's  Ode  on  the  Passions.  With 
perfect  propriety,  he  may  calmly  describe  the  several  passions, 
while  he  yet  presents  a  vivid  picture  of  the  acts  of  each.  The 
ode  is  in  fact  a  narrative,  and  is  to  be  read  as  such.  In  a  more 
animated  style  of  delivery,  he  may  sympathize  with  each  pas- 
sion as  he  describes  its  acts ;  thus  approximating  his  manner  to 
dramatic  elocution.  On  the  other  hand,  a  purely  dramatic  de- 
livery of  the  ode,  proceeds  in  a  different  style,  and  requires  that 
the  reciter  personate  each  passion,  in  the  same  manner  as  when 
acting  in  a  play.  It  is  a  confused  state  of  mind  in  reference  to 
this  distinction,  which  produces  the  general  failure  in  the  at- 
tempts of  elocutionists  to  render  this  ode  interesting  in  public 
recitation.  If  read  or  recited  strictly  as  a  narrative  description, 
it  is  admirably  adapted  for  public  display.  It  is  well  fitted  also, 
for  a  bold  style  of  recitation.  But  to  deliver  it  as  a  declamation, 
and  with  an  affected  imitation  of  the  manner  of  each  passion, 
constitutes  a  style  which  has  no  foundation,  either  in  taste  or 
in  common  sense. 


EXAMPLES    FOR    PRACTICE. 


The  emphasis  of  imagination  and  that  on  words  describing 
emotion,  being  chiefly  required  in  narration  and  description, 
the  subsequent  extracts  are  of  this  nature. 

27 


310  EXPOSITION    OF    THOUGHT. 

We  mark  them  upon  the  following  principles.  Mere  empha- 
ses of  grammar  and  logic  are  indicated  by  italics  and  inflexions. 
A  peculiar  dwelling  on  a  word,  while  the  mind  contemplates 
the  picture  or  the  emotion  which  the  word  describes,  is  shown 
by  separating  the  letters.  When  two  or  more  of  these  princi- 
ples combine  to  produce  the  emphasis,  their  appropriated  indi- 
cations are  employed  in  conjunction.  This  happens  with  the 
greater  portion  of  the  emphases. 

The  extract  immediately  following,  may  be  considered  as  ap- 
pealing almost  exclusively  to  the  imagination.  The  emotion 
which  it  will  excite,  will  be  simply  that  admiration  which  ne- 
cessarily accompanies  the  description  of  splendid  scenes. 

THE    TOURNAMENT    IN    IVANHOE. 
The  exterior  -  of  the  lists 

was,  in  part,      occupied  with  temporary  galleries, 
spread  with   tapestry  and  carpets, 
and  accommodated  with  cushions, 
for  the  convenience  -  of  those  ladies  and  nobles, 
who  were  expected  to  attend  upon  the  tournament. 
A  narrow  space  -  betwixt  these  galleries  and  the  lists, 
gave  accommodation  -  for  yeomanry, 
and  spectators  of  a  better  degree  -  than  the  mere  rulgar, 
and  might  be  compared  to  the  pit  •  of  a  theatre. 

The  promiscuous  multitude 

\  [the  purpose, 

arranged  themselves  -  upon  large  banks  of  turf  y      prepared  for 

which,      aided  by  the   natural   elevation   of  the  ground, 
enabled  them      to  look  oter  the  galleries, 


EMPHASIS     OF    IMAGINATION.  311 

\ 

and  obtain  a  f a i r  view  -  into  the  lists . 

Besides  the  accommodation  -  which  these  stations  afforded, 

many  hundreds 

\ 

had  perched  themselves      on  the  branches  of  the  trees, 

which  surrounded  the  meadow  ;\ 

and  even  the  steeple  of  a  country  church,      at  some  distance, 

was  crowded  with  spectators. 

The  lists 
now  presented      a  most  splendid  spectacle. 

The  sloping  galleries 

[and  beautiful , 
were  crowded     with  all  that  was  noble,     great,     wealthy 

N 

in  the  northern,      and  'midland  -  parts  -  of  England; 

[spectators, 
and   the  contrast  -  of  the  various   dresses  -  of  these   dignified 

/ 

rendered  the  view      as  gay, 

\ 

as  it  was  rich ; 

while  the  interior  and  lower  space, 

[England, 
filled  with   the  substantial   burgesses  and    yeomen  -  of  merry 

formed,      in  their  more  plain  attire, 

\ 

a  dark  fringe,      orborder, 

/ 

around  this  circle  of  brilliant  embroidery, 

relieving,  and  at  the  same  time,  s  et  ting  off  -  its  splendor. 
The  inclosed  space  -  at  the  northern  extremity  of  the  list*, 
large  as  it  was, 


EXPOSITION     OF    THOUGHT. 

was  now  completely  crowded 

\ 
with  knights  -  desirous  to  prove  their  skill  against  the  challengers ; 

and  when  viewed  from  the  galleries, 

presented  the  appearance  -  of  a  sea  -  of  waving  plumage, 

intermixed  with  glistening   helmets,      and  tall   lances, 

to  the  extremities  of  which 

\  [breadth, 

were,  in  many  cases,  -  attached  s  m  a  1 1  pennons,    of  about  a  span's 

which,     fluttering  in  the  air,     as  the  breeze  caught  them, 
joined  with  the  restless  motion  of  the  f  e  a  t  h  e  r  s , 

to  add  liveliness     to  the  scene. 

SCOTT. 

The  emphases  in  the  following  narrative,  are  on  images  and 
also  on  emotions  contemplated  by  the  imagination. 

CADIZ   DURING    THE    BATTLE    OP   TRAFALGAR. 
We  have  frequently  heard  people  relating, 
with  indescribable  emotions, 

the  fears,    the  hopes,    the  agitations    and  the  mo  urn  ings, 
which  occupied  those  few      but  interesting  days, 
when  the  united  fleets  -  of  France  and  Spain 
sailed  from   Cadiz, 

amidst  the  prayers  -  and  benedictions      of  the  people, 

/ 
with  the  vain   expectation      of  vanq uishing 

the  f  o  e  -  who  had  so  long  held  them   imprisoned 
within  their  own  fortifications  . 


EMPHASIS    OF    IMAGINATION.  313 

The  day  they  sailed, 

all   was  expectation      and  anxiety. 
The  succeeding  day 
increased  the  suspense, 

and  wound  up  the  feelings  of  the  people 

\ 

almost  to  a  state  of  phrenzy . 

The  third  day, 

brought  intelligence, 

that  the  hostile  fleets      were  approaching  each  other, 

with  all  the  preparations      of  determined  hostility. 

The  ships      were  not  visible     from  the  ramparts, 

but  the  crowds  of  citizens  -  assembled  there, 

had  their  ears  assailed 

\ 

by  the  roaring  of  the  distant  cannon; 

the  anxiety  of  the  females      bordered  on  insanity ; 

\ 

but  more  of  despair  , 

/ 

than  of  hope, 

was  visible  in  every  countenance. 

At  this  dreadful  moment, 

a  sound  •  louder  than  any  that  had  p receded  it, 

and  attended  with  a  column   of  dark  smoke, 

\ 
announced  that  a  ship      had   exploded. 

The  madness  of  the  people 

was  turned  to  rage  against   England; 
27* 


314  EXPOSITION    OF    THOUGHT. 

and   exclamations   burst  forth, 

denouncing  instant  death, 

to  every  man  who  spoke  the  language  -  of  their  enemies. 

The   storm   that  succeeded   the  battle, 

tended  only,      to  keep  alive,      through  the  n  i  g  h  t , 

\ 

the    horrors   of  the   day, 

and  to  prepare  them 

\ 

for  the  melancholy  spectacle  -  of  the  ensuing  morning, 

when  the   wrecks  -  of  their  floating  bulwarks 

were   seen   on   shore, 

and  some  -  that  had  escaped  the  battle  and  the  storm, 

entering  the   bay; 

to   shelter   themselves 

from  the  pursuit  -  of  their  victorious  enemy. 

JACOBS. 

A  critic  has  quoted  the  following,  as  the  most  magnificent 
passage  in  modern  oratory. 

HYDER   ALL 
When,      at  length, 
Hyder  Ali      found 
that  he  had  to  do      with  men      who  either  would  sign  no  convention, 

or  whom  no  treaty      and  no  signature      could  bind ,  / 

[itself, 
and  who  were  the  determined  enemies  -  of  human  intercourse 

he   decreed      to  make   the   country 


EMPHASIS    OF    IMAGINATION.  315 

possessed  by  these  incorrigible,  -  and  predestinated  criminals, 
a  memorable  example  -  to  mankind. 
He   resolved 

in  the  gloomy  recesses    of  a  mind  -  capacious  of  such  things, 

\ 

to   leave   the  whole   C arnatic  , 

\ 

an   everlasting  monument  of  vengeance; 

\ 

and  to  put     perpetual  desolation 

as  a  barrier, 

between  him,      and  those  against  whom 

the  fa  it  h  -  which  holds  the  moral  elements  of  the  world  -  together, 

,  •*  %  w    u»  6  If.  v  '•*  n   *  J»tft;>  *  i 

was  no  protection. 

He  became,  at  length,      so  c o nfi dent  -  of  his/orc«, 

and  so  collect ed  -  in  hia  might, 

\ 

that  he  made  no  secret  -  whatever, 

of  his  dreadful   resolution. 

Having  terminated  his  disputes  -  with  every  enemy  -  and  every  rival, 

who 

buried  their  mutual  animosity, 

in  their  common  interest  -  against  the  creditors  of  the  nabob  of  Arcot, 

he  drew      from   every   quarter, 

whatever      a  s  avag  e  fero  city      could   add 

/ 

to  his  new  rudiments  -in  the  arts  of  destruction, 

and   compounding      all   the  materials 

\ 
of  fury,      havoc,      and  desolation, 


316  EXPOSITION    OF     THOUGHT. 

/ 

into   one   black  cloud, 

he   hung,      for  a  while, 

on  the   d  e  c  1  i  v  i  t  i  e  s  -  of  the  mountains. 

Whilst  the   a  u  t  k  o  r  s  •  of  all  these  evils, 

/ 

were  idly,    and  stupidly,    gazing  -  on  this  menacing  meteor 

which  blackened  -  all  the   horizon, 

it  suddenly  -  burst, 

and   poured   down      the  to  hole  of  its  contents, 

on  the   plains    of  the   C  a  r  n  a  t  i  c  . 

Then,      ensued  a  scene   oftooe, 

the  like  of  which, 

no  eye  -  had  seen,    nor  heart  conceived,\ 

and  which  no  tongue      could  adequately  tell. 

All   the   horrors  of  war,-  before  known,  -  or  heard  of, 

\x 

were  mercy      to  that  new   havoc. \ 

\ 

A  storm   of  univ  er  sal  fir  e , 

/ 

blasted  every  field, 

consumed  every   house, 

and  destroyed  every  temple. 

The   miserable   inhabitants, 

flying  from  their  flaming  villages, 

\ 

in  part,      were  slaughtered  ; 

others 


EMPHASIS     OF    IMAGINATION.  317 

/ 

[function, 
without   regard   to   s ex,      to   age,      or   rank,      or   sacredness  of 

/ 

fathers      torn  from   children, 

/ 

husbands  from   wives, 

/ 

enveloped  -  in  a   whirlwind  of  cavalry, 

and  amidst  the  goading  spears  of  drivers, 

/ 

and  the   trampling  -  of  pursuing  horses, 

were   swept   into  captivity 

in  an   unknown      and  hostile   land. 

Those  who  were  able  to   evade  this  tempest, 

\ 
fled  to  the  walled  cities. 

/ 

But  escaping      from  fire,  sword,      and  exile, 

\ 
they   f  e  1 1  -  into  the  jaws  of  f a  mine  . 

\ 

For   eighteen  months, 

\ 
without  intermission, 

this   destruction 

raged  from  the  gates  of  Madras      to  the  gates  of  Tanjore; 

and   50   completely , 

did  these  masters  in  their  art, 

Hyder  Ali      and  his  more  ferocious  son, 

/ 
absolve  themselves  -  of  their  impious  vow, 

that  when  the  British  armies 
traversed,  as  they  did,      the  Carnatic, 


318  EXPOSITION     OF    THOUGHT. 

for   hundreds   of  miles,      in   all  directions, 

through  the   whole  line   of  their  march, 

\ 
they   did  not  see      one  man, 

\ 
not   one   woman, 

\ 

not   one   child, 

\ 

not  one  four-footed  beast, 

of  any  description  whatever. 
One   dead      uniform  silence, 

reigned   over  the    whole   region. 

BURKE. 

The  following  extract  is,  in  its  structure,  argumentative.  It 
abounds  also  in  intensive  emphases.  Still  the  predominant  ap- 
peal is  to  the  imagination,  and  to  emotions  contemplated  by  the 
imagination  rather  than  directly  felt. 

It  consists  of  three  passages  preached  before  the  legislature 
of  Connecticut,  in  the  year  1813.  The  three  separate  passages 
were,  we  believe,  first  placed  together  by  Mr.  J.  E.  Lovell,  who 
is  so  well  known  as  an  able  elocutionist. 

Without  a  knowledge  of  the  time  when  the  sermon  was  de- 
livered, the  passage  might  be  regarded  as  nothing  more  than  a 
sublime  rant.  But  it  should  be  remembered  that  the  year  1813 
was  that  in  which  the  power  of  Bonaparte  was  at  its  height,  and 
all  Europe  was  banded  against  him ;  a  million  of  armed  men 
contending  on  the  plains  of  Germany  alone.  A  nearer  approx- 
imation is  perhaps  made  in  this  passage,  to  the  energy  of  the 
Sacred  Prophets,  than  in  any  other  modern  composition. 


EMPHASIS     OF    IMAGINATION.  319 

LOSS    OF    NEW    ENGLAND   MORALITY. 
The  crisis      has  come. 
By  the  people  -  of  this  generation, 
by  ourselves,      probably, 

the   amazing  question      is  to  be  decided, 
whether  the  inheritance  of  our  fathers 
shall  be  preserved^ 
or  thrown  away  ; 
whether  our   Sabbaths 

shall  be  a   delight, 

\ 
or  a  loathing; 

whether  the   la  v  e  r  n s ,      on  that  holy   day, 

shall  be  crowded  with   drunkards, 

or  the  sanctuary  of  God 

with   humble  worshippers; 

whether  riot  and  profaneness, 

shall  fill  our  streets; 

and  poverty,      our  dwellings, 

toad   convicts,      our  jails, 

and  violence  ,     our  land, 

\ 

or  whether  industry, 

and  temperance, 
and   righteousness, 


320  EXPOSITION    OF     THOUGHT, 

shall  be  the  stability  of  our  times  :\ 

whether  mild  laws 

/ 

shall  receive  the  cheerful  submission  -  of  freemen, 

/ 

or  the  iron  rod  -  of  a  tyrant 

\ 
compel  the  trembling  homage  -  of  slaves. 

\ 

Be  not  deceived. 

/ 

The   rocks  and  hills      of  New  England, 

\ 

will  remain      till  the  last  conflagration. 

/ 

But  let  the    Sabbath      be  profaned  with  impunity, 

/ 

the  worship  of  Go  d      be  abandoned, 

/ 
and  the  government  and  religious  instruction  of  children      neglected, 

/ 

and  the  streams  of  intemperance      be  permitted  to  flow, 

and  her   glory      will   depart. 

The   wall   of  f i  r  e      will  no  longer  surround  her; 

and  the   munition   of  rocks      will  no  longer  be  her  defence. 

The   hand  that  overturns  our  laws  and   temples, 

is  the  hand  of  death 

\ 
unbarring  -  the  gates  of  Pandemonium  , 

and   letting   loose   upon  our  land, 

\ 
the  crimes  and  miseries  of  hell. 

If  the   Most   High      should   stand  aloof, 

and  cast  not  a  single  ingredient     into  our  cup  of  tremblin  g, 

/ 
it  would  seem  to  be  full  of  superlative  woe. 


EMPHASIS     OP    IMAGINATION.  321 

But  He  will  TO  o  t  stand  aloof. 

As  we  shall  have  begun  an   open   con  tro  versy  -  with   Him, 

He      will  contend  openly      with   u  s . 

And  never, 

\ 

since  the   earth   stood, 

has  it  been  so  fearful   a  thing, 

for  nations      to  fall  into  the  hand  -  of  the   living    God. 

The   day   of  vengeance      is  at  hand  ; 

the   day   of  judgment      has  come; 

\ 

the   great   earthquake   which   sinks   Babylon, 

is   shaking  the   nations, 

and  the   waves   of  the   mighty  commotion 

are   dashing   on   every  shore. 

/ 

Is   this,   then,      a  time  to  remove  the  foundations, 

/ 
when  the   earth  itself     is  shaken? 

/ 

Is   this  a  time,      to  forfeit  the  protection  of  God, 

/ 

when  the  h  e  a  r  ts  of  m  e  n      are  fa  iling  them  for  fear,     / 

[earthf 
and  for  looking   after  those  things  -  which  are  to   come   upon  the 

X 

Is    this   a  time, 

/ 
to  run  upon  his  neck      and  the  thick  bosses  of  his   buckler 

/ 

when  the  nations      are    drinking   blood, 

/   . 

and  fa  i  nting  , 

/ 

and   passing  away,      in  his  wrath  ? 

28 


322  EXPOSITION    OF    THOUGHT. 

/ 

Is  this  a  time      to  throw  away   the  shield  of  faith, 

/ 

when  His  arrows      are   drunk  with  the  blood  of  the   slain? — 

/ 
to   cut  from  the   anchor   of  hope, 

when  the  clouds  are   collecting, 

/ 

and  the   sea   and  the   waves  are   roaring, 

/ 

and   thunders   are  uttering  their  voices, 

and  lightnings      blazing  in  the  heavens, 

/ 

and  the  great  hail  is   falling   from   heaven   upon  men, 

/  /  / 

and  every   mountain,      sea,      and   island, 

/ 

is  fleeing  in  dismay    from  the  face  of  an  incensed  Go  df 

Dr.  BEECHER. 

ADDRESS    TO    MONT   BLANC. 

/ 

Hast  thou  a   charm     ||     to   stay  the  morning  star, 

/ 

In  h\s  steep  course?     \\     so   long      he  seems  to   pause, 

Qnlhj  bald     awful   bead,     ||     OCharaouny! 

The  Arvi      and   Arveiron,     \\     at  thy  base, 

[form, 
Rave    ceaselessly,      ||      while    thou,       dread     mountain 

R  i  s  e  s  t     H     from  forth  thy  silent  sea  of  pines 

How   silently!     |{     Around   thee,      and   above, 

\  \ 

Deep      is  the  sky,      and  black:     \\     transpicuous  deep, 

An   ebon  mass!     ||     rnethinks  thou  piercest  it, 

As  with  SL  wedge!     \\     But  when  I  look  a*aint 

\  \ 

It  seems  thine   own  calm   home,     ||     thy   crystal  shrine, 


EMPHASIS     OF    IMAGINATION.  323 

Thy   habitation     \\     from   eternity. 

0  dread   and   silent  form!     |j     I   gazed  on  thee, 
Till   t  h  o  u  ,     ||     still  present      to  my  lodily  eye, 

Didst  -oanish  from  my  thought.     ||     Entranced   in   prayer, 

1  worshipped    the   invisible     ||     alone. 

IV ho     ||     sank   thy  sunless  pillar s      in  the   earth?\ 
Who     ||    filled      thy    countenance      with   rosy  light?\ 
Who     ||     made  thee  father  of  perpetual  streams?\ 
And   yo  u,      ye  five  wild  torrents    l|    fiercely  glad  ,\ 
Who  called  you  forth     \\    from  night      and  utter  death? 
From   darkness,      let  you  loose,     ||     and  icy  dens, 
Down   those  precipitous,     ||     black,     jagged  rocks, 

Forever  shattered,     ||     and  the  same  for  ever  ?\ 

\ 

Who      gave  you     ||     your   invulnerable   life, 

\  \  \  \ 

Your  str  ength  ,    your  speed,    ||     your  fury,    and  your  joy, 

/ 

Unceasing  thunder     ||     and   eternal  foam? — 

/  / 

And   who   commanded,     \\     and  the   silence      came, 

"Here      shall  the  billows      stiffen     ||     and  have   rest?" 

\  / 

Ye  ice-falls!     ||     ye,  that,   from  yon   dizzy   heights, 

/ 

Adown   enormous  ravines     ||     steeply  slope, 

> 

Torrents,      methinks,     ||     that  heard  a  mighty  noise, 

And   stopped,   at  once,     ||     amidst  their   maddest   plunge, 
Motionless  torrents!     ||     silent  cataracts! 


324  EXPOSITION     OF    THOUGHT. 

Who      made  you  glorious     ||     as  the  gates  of  heaven, 
Beneath  the   keen,  full  moon?     \\     Who   bade  the   sun 
Clothe  you     with  ra  inbows?    \\     Who,     with  lovely  flowers 

Of  living   blue,     \\     spread  garlands      at  your  feet? 

\  \  \ 

God!       God!      j|     the  torrents      like  a  shout   of  nations 

Utter;     ||     the  ice  plain      bursts,      and  answers,      God! 

\  [voice, 

God!       sing    the    meadow    streams,     ||     with     gladsome 

And  pine  groves,     j|     with  their  soft      and  soul -like  sound. 

\  [God! 

The    silent    snoic-mass,      \\     loosening,     ||     thunders, 

Ye    dreadless  flowers  ,    \\    that  fringe     the  ete  rnal  fr  o  s  t ! 
Ye    wild -goats,     \\     bounding   by  the   eagle's  nest! 

Ye   eagles,     ||    playmates   of  the   mountain  blast! 

\ 

Ye   lightnings^     \\     the   dread    arrows  ofthe   clouds, 

Ye  signs  and   wonders     \\     ofthe    elements! 

Utter  forth    God!     \\     and  fill  the   hills      with  praise. 

COLERIDGE. 


CHAPTER  IV. 

TRANSITION    BETWEEN    PARAGRAPHS. 

IT  being  a  primary  requisite  of  a  good  delivery,  that  it  exhibit 
the  course  of  thought  throughout  a  composition,  the  division 
'into  paragraphs  must  be  manifested  to  the  ear,  as  clearly  as  it  is 
shown  by  the  broken  lines  in  printing,  to  the  eye. 


TRANSITION    BETWEEN    PARAGRAPHS.         325 

As  each  paragraph  possesses  a  true  unity,  it  must  be  uttered 
as  a  whole.  The  winding  off  required  at  its  close,  has  already 
been  treated  of,  under  the  head  of  Cadence ;  a  careful  manage- 
ment of  which  must  of  course  be  the  first  object  of  attention,  in 
exhibiting  the  transition  to  the  next  paragraph. 

The  commencement  of  a  new  one,  must  if  possible,  be  given 
with  a  marked  variation  of  manner.  This  is  sometimes  difficult 
to  accomplish,  when,  as  often  happens,  the  new  paragraph  does 
not  begin  with  any  considerable  change  of  subject  or  style.  If 
indeed  it  introduces  a  different  course  of  thought,  or  a  decided 
variation  in  style,  and  if  in  addition,  these  are  made  prominent 
by  words  of  strong  emphasis,  no  difficulty  need  be  experienced. 
In  such  cases,  nothing  more  is  required  than  a  close  adherence 
to  the  demands  of  the  subject  and  language. 

0When  there  is  no  sudden  or  striking  change  of  thought  or 
language,  the  reader  or  speaker  is  thrown  upon  his  skill  in  de- 
livery, and  must  make  a  particular  and  careful  effort  to  render 
manifest  the  completion  of  one  paragraph,  and  the  commence- 
ment of  another. 

Failures  in  this  respect,  generally  begin  with  a  neglect  of  the 
deliberate  close  and  the  decided  pause,  which  are  required  in 
the  extended  cadence  of  the  preceding  paragraph.  Let  these 
be  carefully  executed. 

Then  let  the  change  of  position  and  attitude,  and  the 
actual  rest  which  a  speaker  naturally  indulges,  be  en- 
couraged, and  indeed  studied. 

In  general,  no  pains  ought  to  be  taken  to  conceal  them  ; 
since  the  audience  also  need  the  relief  which  they  afford. 

If  the  speaker  or  reader  has  actually  rested  between  two 
paragraphs,  his  voice,  and  indeed  his  whole  delivery,  will  ex- 
hibit a  certain  fresh  excitement  upon  entering  on  the  next  pas- 
sage, which  will  almost  be  sufficient,  of  itself,  to  mark  the 
transition. 

28* 


326  EXPOSITION     OF    THOUGHT. 

Yet  in  following  this  direction,  care  must  be  exercised  not  to 
fall  into  a  monotonous,  yet  common,  habit,  of  beginning  every 
paragraph  in  a  loud  and  high  tone,  and  one  of  such  a  sort  as 
indicates  either  an  undue  excitement,  or  nothing  more  than 
freshness  of  animation. 

Let  a  careful  effort  be  made,  to  exhibit  a  tone  of  en- 
tering' upon  a  new  and  different  train  of  ideas. 

The  tone  actually  used  in  any  particular  case,  will  be  made 
up  of  a  complication  of  various  slight  differences  of  modulation, 
yet  it  is  not  necessary  to  their  exhibition  that  we  know  at  the 
time,  what  modulations  we  are  actually  using.  An  earnest  ef- 
fort to  accomplish  the  desired  effect,  will  be  sufficient  to  pro- 
duce them. 

In  short,  let  the  reader  or  speaker,  adhere  closely  to  the  de- 
mands of  the  words  he  is  at  any  one  time  uttering. 

But  let  him  also  study  to  vary,  as  much  as  possible, 
his  method  of  commencing  paragraphs,  by  means  of  other 
changes  than  those  of  inflexion  and  emphasis. 

As  a  general  rule,  we  must  aim  at  striking  variations.  It  is 
most  easy,  and  in  many  respects  most  natural,  to  proceed  in 
reading  or  speaking,  with  an  unvarying  uniformity.  The  in- 
creased exertion  necessary  for  large  audiences,  makes  this 
tendency  so  strong,  that  nothing  but  intentional  skill,  united  to 
a  high  degree  of  self-possession,  can  counteract  it. 

An  instructer  finds  the  subject  of  the  present  chapter,  ex- 
tremely difficult  to  teach.  Even  after  the  student  has  faithfully 
practised  himself,  in  pausing  between  the  divisions  of  his  dis- 
course, and  in  exhibiting  a  decided  transition  of  manner  on  a 
few  words,  he  is  yet  liable,  after  uttering  not  more  than  one  or 
two  lines,  to  revert  to  the  same  modulations,  attitudes  and  ges- 
tures, which  he  had  been  previously  using. 

Especially,  therefore,  in  delivery  adapted  to  large  rooms, 
must  not  only  a  change  of  manner  be  exhibited  at  the  begin- 


TRANSITION    BETWEEN    PARAGRAPHS.         327 

ning  of  a  paragraph,  but  be  persevered  in  during  its  continu- 
ance, and  be  kept  as  decidedly  peculiar,  as  the  subject  and 
language  will  permit. 

As  it  is  often  a  matter  of  little  consequence,  in  writing  or 
printing,  whether  a  passage  be  considered  as  a  single  paragraph, 
or  be  subdivided  into  two  or  more,  it  will  be  found  a  good  prac- 
tical rule,  to  divide  a  composition  for  speaking,  into  as  many  as 
the  course  of  thought  will  admit.  But  when  this  is  done,  the 
cadences  will  not  be  in  every  case  low  and  formal ;  the  pauses 
also,  will  sometimes  be  short. 

In  part  first,  we  furnished,  under  the  head  of  contrasts  of 
force,  an  extract  which  will  practise  in  transition,  and  the  lim- 
its of  the  volume  will  allow  of  inserting  but  one  more. 

The  example  which  follows,  is  selected  not  on  account  of  the 
transitions  being  very  striking,  but  because  it  admits  of  being 
divided  into  short  paragraphs. 

EXTRACT    FOR   PRACTISING   TRANSITION. 

Shall  we  break  the  treaty  ? 

/ 
Sir,      from  argument      calculated  to  produce  conviction, 

\ 
I  will  appeal  directly  to  the  hearts      of  those  who  hear  me,\ 

and  ask, 

\ 

whether  it  is  not  already 

\ 
planted  there  1 

I  resort,      especially, 

\ 
to  the  convictions  of  the  western  gentlemen, 

\ 

whtthert 

/ 

supposing  no  posts, 


328  EXPOSITION     OF    THOUGHT. 

/ 

and  no  treaty, 

\ 
the  settlers      will  remain  in  security  ? 

/ 
Can  they      take  it  upon  them  to  say, 

that  an  Indian  peace,      under  these  circumstances, 

/ 
will  prove  frm  ? 

\ 
No,  sir, 

\ 
it  will  not  be  peace, 

\ 
but  a  sword. 

\ 
It  will  be  no  better  than  a  lure, 

\ 
to  draw  victims  within  the  reach  of  the  tomahawk. 

On  this  theme, 

\ 
my  emotions  are  unutterable. 

/• 
If  I  could  find  words  for  them, 

/  \/ 

if  my  powers      bore  any  proportion  to  my  zeal, 

/ 

I  would  swell  my  voice      to  such  a  note  of  remonstrance, 

it  should  reach  every  log  house  beyond  the  mountains 

I  would  say  to  the  inhabitants, 

\  \ 

wake      from  your  false  security  : 

your  cruel  dangers, 

/ 
your  more  cruel      apprehensions, 

\ 
are  soon  to  be  renewed: 


TRANSITION     BETWEEN    PARAGRAPHS.         329 

in  the  day  time, 

\ 
your  path  through  the  woods  will  be  ambushed: 

the  darkness  of  midnight 

\ 
will  glitter  with  the  blaze  of  your  dwellings. 

/ 
You  are  a  fa  the  r — 

\ 
the  blood  of  your  sons  shall  fatten  your  cornfield: 

/ 
you  are  a  mo  the  r — 

the  war-whoop  shall  wake  the  sleep  of  the  cradle. 

On  this  subject 

/ 
you  need  not  suspect  any  deception  on  your  feelings. 

\ 
It  is  a  spectacle  of  horror      that  cannot  be  overdrawn. 

X 
If  you  have  nature  in  your  hearts, 

it  will  speak  a  language 

/ 
compared  with  which,      all  1  have  said,      or  can  say, 

\ 
will  be  poor  and  frigid. 

Will  it  be  whispered, 

/          [tion  of  the  frontiers  ? 
that  the  treaty      has  made  me  a  new  champion  -  for  the  proteo 

\ 
It  is  known 

\ 

that  my  voice      as  well  as  vote, 

\ 
has  been  uniformly  given, 

in  conformity  with  the  ideas  I  have  expressed. 


330  EXPOSITION    OF    THOUGHT. 

Protection  is  the  right  of  the  frontiers  ; 

\ 
it  is  our  duty      to  give  it 

Who  will  accuse  me      of  wandering  out  of  the  subject  ? 

\  [ures  ? 

Who  will  say      that  I  exaggerate  the  tendencies  of  our  meas- 

Will  any  one  answer  by  a  sneer, 

/ 
that  all  this      is  idle  preaching  1 

Will  any  one  deny,  that  we  are  bound, 
and  I  would  hope,  to  good  purpose, 

by  the  most  solemn  sanctions  of  duty, 

/ 
for  the  vote  we  give  ? 

/ 
Are  despots,  alone,  / 

[blood  of  their  subjects  1 
to  be  reproached      with  unfeeling  indifference,      to  the  tears  and 

/ 
Are  republicans      unresponsible  1 

[cabinets  and  kings, 
Have  the  principles      upon  which  you  ground  the  reproach  upon 

/ 
no  practical  influence  ; 

/ 
no  binding  force  ? 

/ 
Are  they  merely      themes  of  idle  declamation, 

/ 
introduced  to  decorate  the  morality  -  of  a  newspaper  essay, 

/ 

[that  state  house  ? 
or  to  furnish  pretty  topics  of  harangue      from  the  windows  of 

I  trust  it  is  neither  too  presumptuous,      nor  too  late  to  ask ; 


TRANSITION    BETWEEN    PARAGRAPHS.         331 


\ 


Can  you      put  the  dearest  interests  of  society  at  risk, 
without  guilt, 


\ 

jind  without  remorsel 

It  is  vain      to  offer  as  an  excuse, 

\/ 
that  public  men      are  not  to  be  reproached, 

for  the  evils  that  may  happen  to  ensue  from  their  measures. 

Those  I  have  depicted 

\ 

are  not  unforeseen ; 


they  are  so  far  from  inevitable, 


\ 


we  are  going  to  bring  them  into  being      by  our  vote. 

\ 

choose  the  consequences, 

and  become  as  justly  answerable  for  them, 


\ 

as  for  the  measures      that  we  know  will  produce  them. 

By  rejecting  the  treaty, 

\ 
we  light      the  savage  fires, 

\ 
we  bind  the  victims . 

This  day      we  undertake  to  render  account  \ 

[make, 
to  the  widows  and  orphans      whom  our  decision  will 

\ 

to  the  wretches  that  will  be  roasted  at  the  stake. 

\ 
to  our  country, 

and  I  do  not  deem  it  too  serious,  to  say, 


332  EXPOSITION     OF    THOUGHT. 


to  conscience, 

\ 
and  to  God. 

WE  ARE  ANSWERABLE  ! 

/ 

and  if  duty      be  any  thing  more  than  a  word  of  imposture, 

/ 
if  conscience      be  not  a  bugbear, 

\ 

we  are  preparing  to  make  ourselves 

\ 

as  wretched      as  our  country. 

FISHER  AMES. 


333 


PART    III. 


EXPRESSION. 

HITHERTO  we  have  considered  delivery  merely  in  reference 
to  intelligibility  and  force.  Exposition  of  Thought,  which  we 
last  discussed,  is  a  subject  entirely  distinct  from  that  of  Expres- 
sion. The  latter  does  not  proceed  from  the  understanding,  or 
from  the  imagination  ;  it  springs  from  feeling. 

Suppose  two  persons  to  read  or  speak  either  of  our  extracts, 
and  each  to  exhibit  precisely  the  same  delivery,  so  far  as  it  can 
be  influenced  by  the  directions  we  have  hitherto  given.  The 
two  will  set  forth  the  same  ideas,  and  give  them  the  same  rela- 
tive importance.  They  will  be  equally  earnest  and  forcible. 
The  attention  of  an  audience  may  be  as  completely  enchained 
by  the  one  as  by  the  other.  The  hearers  may  even  be  impress- 
ed and  gratified  in  an  equal  degree  by  both.  All  this  may  be 
done,  and  yet  they  may  proceed  in  diametrically  opposite  styles 
of  delivery.  They  may  differ  in  Expression. 

As  Expression  proceeds  from  feeling,  it  is  obvious  that  per- 
sons of  widely  different  temperaments  and  characters,  must  be 
predisposed  to  different  styles  of  speaking.  What  we  call  a 
person's  natural  and  characteristic  manner,  has  its  origin  in 
such  constitutional  and  habitual  influences. 

So  too,  the  subject  of  an  address,  the  nature  of  the  occasion, 
and  the  peculiar  character  and  circumstances  of  the  audience, 
all  exert  their  appropriate  influences,  and  excite  feelings  in  the 
speaker,  which  modify  his  style  of  expression. 

Whoever  be  the  speaker,  an  entire  address,  or  at  least  a  di- 
vision or  a  paragraph,  is  characterized  by  some  prevalent  ex- 
pression. We  trust  this  will  be  shown  by  our  subsequent  clas- 

29 


334 


EXPRESSION. 


sification,  to  be  not  only  a  fact,  but  one  which  has  as  definite  a 
foundation  in  nature,  as  articulation,  pause,  inflexion  or  em- 
phasis. 

Our  views  on  this  subject  are  not  theoretical,  or  the  result  of 
investigation  on  abstract  grounds,  but  arise  from  observation  of 
the  varieties  of  manner  exhibited  by  persons  differing  in  age, 
character  and  profession,  and  aiming  at  different  objects  in 
speaking. 

Nor  is  the  subject  difficult,  either  to  teach  or  to  learn.  On 
the  contrary,  any  particular  style  of  expression  is  more  easily 
imitated  than  the  sum  total  of  the  numerous  and  subtle  modula- 
tions which  combine  to  effect  a  complete  exposition  of  thought. 
Every  natural  style  is  produced  by  the  continual  recurrence  of 
some  simple  and  definite  modification  of  tone.  Mixed  expres- 
sions do  not  so  often  appear  in  any  one  address,  as  might  be 
expected  previous  to  investigation ;  and  when  they  do  occur, 
are  easily  analyzed,  their  elements  being  few  and  definite. 

Expression  is  always  the  result  of  two  sets  of  influences, 
which  are  in  nature  perfectly  distinct,  although  existing  in  con- 
junction. We  shall  describe  these  in  separate  chapters,  and 
call  them — 

1.  MOODS  OF  DELIVERY. 

2.  STYLES  OF  ADDRESS. 

Every  address  exhibits  a  certain  style,  and  also  proceeds  in 
one  of  the  moods  of  delivery,  or  in  a  medium  between  them. 


CHAPTER  I. 

MOODS     OF    DELIVERY 


THESE  are  but  two  in  number;  a  single  exception  which  we 
shall  hereafter  mention,  being  but  partial.     They  are — 

1.  The  Direct; 

2.  The  Meditative  Mood. 


MOODS     OF    DELIVERY.  335 

The  second  might  be  called  the  indirect ;  but  the  term  we 
adopt,  though  less  appropriate  in  reference  to  mere  classifica- 
tion, is  more  descriptive  of  the  actual  state  of  mind  which  it 
expresses.  When  we  speak  of  but  two  moods,  we  have  refer- 
ence to  extreme  degrees  of  each.  An  address  often  exhibits  a 
medium  or  mixture  of  each  of  the  two. 

THE    DIRECT    MOOD    OF   DELIVERY. 

Suppose  a  speaker  makes  an  extemporaneous  address,  on  a 
subject  with  which  he  is  so  familiar  as  to  have  all  his  ideas,  and 
their  language,  perfectly  at  his  command.  Suppose  his  whole 
matter  and  style  are  so  prompt  and  fluent,  that  his  thoughts  are 
ready  for  use  in  his  mind,  and  he  has  merely  to  employ  them 
as  instruments.  Then  suppose  him  to  be  exclusively  occupied 
in  endeavoring  to  influence  his  audience.  If  such  be  his  situa- 
tion and  efforts,  his  delivery  will  be  in  what  we  call  the  direct 
mood. 

In  this  mood,  the  speaker's  energies  are  wholly  di- 
rected towards  his  audience. 

Every  tone,  look  and  gesture,  shows  that  he  is  primarily,  and 
indeed  exclusively  influenced,  so  far  as  his  delivery  is  concern- 
ed, by  this  state  of  mind.  Whether  he  asserts,  explains,  insists, 
persuades,  urges,  commands,  exhorts,  or  appeals,  it  is  prima- 
rily to  them.  None  of  these  things  are  done  in  reference  to 
strengthening  his  own  convictions,  or  satisfying  his  own  feel- 
ings in  view  of  his  subject.  He  endeavors  exclusively  to  influ- 
ence others ;  and  does  not  aim  to  satisfy  himself  and  others. 
The  truth  and  interest  of  a  course  of  thought,  are  not  dwelt  upon 
abstractly,  or  for  the  gratification  of  his  own  mind,  but  are  ta- 
ken for  granted,  and  enforced  upon  his  audience.  He  is  not 
assisting  himself  to  think  and  feel,  but  occupied  in  making  oth- 
ers sympathize  with  thoughts  and  feelings  completely  matured 
in  his  mind. 


336  EXPRESSION. 

The  pleadings  of  lawyers  before  juries,  are  generally  in  this 
mood  of  delivery,  and  with  little  or  no  admixture  of  the  medi- 
tative. Still  further  illustration  will  be  afforded  under  the  next 
head,  by  the  comparison  of  the  two  moods  with  each  other. 

To  succeed  in  speaking  in  this  mood,  it  will  be  sufficient  for 
the  student  to  put  his  mind  into  the  state  above  described,  and 
make  vigorous  efforts  accordingly.  Yet  it  will  be  interesting 
and  useful  to  describe,  in  detail,  the  modifications  of  general 
manner  which  result  from  so  doing. 

1st.  The  attitude  is  that  of  leaning  forward  towards 
those  addressed. 

If  they  are  very  near,  as  in  the  case  of  a  jury  addressed  by  a 
lawyer,  the  body  will  lean  forward  from  the  hips.  But  if  the 
audience  is  large,  the  body  will  not  bend  from  the  hips,  but 
lean  forward  from  the  foot  on  which  it  rests, — generally  from 
the  right  one. 

It  should  be  remembered  that  in  graceful  attitudes,  the  bend- 
ing forward  which  expresses  sympathy  and  a  desire  to  bespeak 
attention,  will  not  be  principally  at  the  neck.  The  head  will 
incline  with  the  body,  and  not  by  itself.  Bending  the  head 
without  the  body,  is  apt  to  suggest  a  notion  that  the  speaker 
feels  too  proud  to  be  unreservedly  polite,  or  sympathizing. 

2d.  In  gesture,  the  arm  will  be  freely  extended,  and 
not  be  half  drawn  back. 

If  this  be  not  done,  the  speaker  will  be  liable  to  appear  either 
bashful,  or  too  self-important  to  be  in  earnest. 

There  is  an  exception  in  the  case  of  those  familiar  ges- 
tures of  explication  or  argument,  in  which  the  elbows  remain 
Dearly  at  the  sides  of  the  body,  and  the  gesticulations  are  made 
with  the  fore-arm  and  wrist.  These  are  the  gestures  commonly 
used  in  conversation,  and  deserve  to  be  cultivated  in  familiar 
delivery.  Vide  p.  4o. 


MOODS     OF     DELIVERY.  337 

The  wrist  will  be  well  bent  back,  and  the  thumb  and 
forefinger  widely  opened,  in  order  that  the  palm  of  the 
hand  may  make  a  frank  and  striking  appeal. 

3d.  The  voice  will  be  open,  distinct,  clear,  and  ear- 
nestly sympathizing,  in  its  tone. 

The  peculiar  tone  of  voice  which  characterizes  this  mood  of 
delivery,  is  that  which  the  musicians  call  reedy.  The  clarionet, 
among  musical  instruments,  exemplifies  the  quality  in  the  most 
perfect  manner.  The  voice  does  not  exhibit  the  pure  tone,  in 
absolute  perfection.  It  is  more  or  less  palatal,  that  is,  assisted 
by  reverberation  from  the  palate  or  roof  of  the  mouth,  and  not 
wholly  laryngeal,  or  from  the  throat.  Those  who  have  not 
studied  music,  may  recognize  this  quality  of  the  speaking  voice, 
from  its  resemblance  to  the  tone  of  grave,  yet  sympathizing 
conversation. 

When  the  direct  mood  of  delivery  is  entered  into  with 
great  earnestness,  it  naturally  tends  to  make  the  articu- 
lation very  distinct. 

The  voice  inclines  to  execute  each  syllable  with  an  elaborate 
finish.  Even  in  rapid  speaking,  the  utterance  of  the  words  and 
syllables  in  detail,  has  a  certain  deliberation. 

Finally,  the  countenance  has  an  open  and  earnest  ex- 
pression ;  the  eyes  looking  directly  and  steadily  (for 
most  of  the  time)  towards  those  addressed. 

THE    MEDITATIVE    MOOD. 

In  this,  the  speaker  dwells  upon  ideas  for  their  own 
sake,  and  for  the  satisfaction,  at  least  in  part,  of  his  own 
mind. 

If  his  audience  coincide  with  him,  they  do  so  from  pure  sym- 
pathy, and  not  because  he  makes  an  especial  effort  to  influence 

29* 


EXPRESSION. 

them.  The  delivery  is  substantially  the  same  as  if  the  speaker 
were  giving  free  utterance  to  his  thoughts  and  feelings,  with- 
out addressing  an  audience. 

The  purest  exhibition  of  this  mood,  is  heard  in  impassioned 
meditation  and  soliloquy.  Although  a  soliloquy  may  powerfully 
affect  an  audience,  yet  it  must  not  be  addressed  to  them. 

As  in  a  soliloquy,  so  in  lower  degrees  of  the  meditative  mood, 
the  speaker  reflects  upon  ideas  and  feelings,  while  he  is  uttering 
them.  He  enforces  them  for  his  own  satisfaction,  as  well  as 
for  that  of  his  hearers,  upon  whom  he  acts,  as  it  were,  indirectly. 

The  meditative  mood  is  used  to  express  conviction,  the  speak- 
er's personal  interest,  and  the  interest  common  to  him  and  his 
audience.  The  direct,  is  that  of  pure  affirmation,  inculcation, 
persuasion  and  appeal. 

The  direct  is  objective  in  its  efforts,  and  the  meditative  more 
or  less  subjective. 

The  speaker  being  more  or  less  in  a  state  of  medita- 
tion and  reflection,  this  state  influences  his  whole  ap- 
pearance. 

1st.  His  ATTITUDE  is  more  erect  and  self-balanced, 
than  when  speaking  in  the  direct  mood.  The  head 
slightly  inclines  to  be  thrown  backward,  while  the  eyes 
look  more  or  less  upwards. 

2d.  The  arm,  in  gesture,  tends  more  upwards,  and 
the  palm  of  the  hand  is  less  strikingly  presented  to  the 
audience. 

3d.  The  voice,  though  it  may  exhibit  any  degree  of 
earnestness  and  passion,  has  a  more  thoughtful  and  solilo- 
quizing tone — sounding  more  as  if  the  speaker  had  no 
audience  before  him. 

The  Pure  Tone,  (vide  p.  5S,)  in  its  highest  perfection,  is 
heard  only  in  this  mood  of  delivery.  Indeed,  the  most  perfectly 
musical  sound  of  the  speaking  voice,  is  called  for  only  in  the 


MOODS     OF    DELIVERY.  339 

recitation  of  interesting  or  elevated  poetry,  or  of  prose,  that  like 
poetry,  addresses  the  imagination  and  feelings  more  than  the 
understanding.  When  one  is  reading  or  reciting,  rather  than 
speaking,  it  is  often  required  that  the  quality  of  voice  be  as  ab- 
solutely musical  as  in  the  most  perfect  execution  by  the  masters 
of  singing. 

When  the  meditative  mood  of  delivery  is  carried  to  the  de- 
gree of  soliloquy,  the  voice  is  so  completely  in  the  throat  as  to 
exhibit  more  or  less  of  a  hollow  sound.  But  in  practice,  this 
tendency  to  hollowness  of  tone  must  be  in  a  good  degree  con- 
tracted, or  it  will  be  apt  to  degenerate  into  obscurity,  or  into 
mouthing"  and  affectation. 

The  natural  tendencies  of  the  utterance  are  to  be  less  distinct 
in  articulation,  in  this  mood  of  delivery.  The  voice  being  less 
open,  broad  and  clear,  arid  the  utterance  being  more  in  the 
throat,  the  consonants  are  enunciated  with  less  strength  and 
precision.  They  are  likewise  not  so  much  dwelt  upon  as  in 
the  direct  mood. 

Hence  the  speaker  needs  to  take  more  pains  to  articulate 
with  completeness  and  precision. 

Indeed  so  little  is  it  natural  to  be  distinct  and  articulate  in 
the  meditative  mood,  that  if  delivery  which  proceeds  in  a  high 
degree  of  it  is  made  perfectly  successful,  the  flow  of  utterance  of 
thought  and  feeling,  is  constantly  accompanied  by  a  separate 
effort  to  be  distinct  and  intelligible. 

Hence  we  see  the  reason  of  the  common  fact  that  thoughtful 
and  intellectual  men  are  apt  to  have  an  indistinct  articulation 
in  public  reading  or  speaking. 

The  reading  or  recitation  of  poetry,  or  of  soliloquies,  requires 
that  this  separate  effort  for  articulation  be  made  with  very  great 
care  and  patience. 

The  most  interesting  exemplifications  of  eloquence  in  the 
meditative  mood,  are  afforded  by  poets  reading  or  reciting  their 
own  productions  with  enthusiasm,  and  by  eloquent  clergymen. 


340  EXPRESSION. 

Speakers  who  manifest  cultivated  minds  and  elevated  char- 
acters, always  speak  more  or  less  in  this  mood.  Even  when 
their  utmost  energies  are  exerted  to  convince  or  persuade  their 
auditors,  they  still  manifest,  for  the  greater  part  of  the  time,  a 
thoughtfulness  of  manner,  which  proves  that  they  endeavor  to 
satisfy  their  own  minds,  as  well  as  those  of  others.  • 

Instructive  and  interesting  lectures,  should  always  be  deliv- 
ered chiefly  in  this  mood. 

Whenever  the  ideas  expressed  concern  the  whole  hu- 
man family,  or  the  speaker's  fellow  countrymen,  the 
meditative  mood  should  be  more  or  less  conspicuous  in 
the  delivery. 

This  mood  contributes  most  to  dignity,  elevation  and  sincerity 
of  delivery.  Yet  it  is  frequently  observed  that  men  of  superior 
talents,  high  cultivation,  and  great  earnestness  of  character,  are 
dull  and  uninteresting  speakers.  They  are  so  even  when 
speaking  extemporaneously,  and  when  their  matter  and  style 
are  such  as  may  be  expected  from  their  talents  and  characters. 
Such  speak  purely  in  the  meditative  mood,  but  without  excite- 
ment, and  with  an  abstracted  manner.  They  do  not  sympa- 
thize with  their  audience,  or  endeavor  to  influence  them. 

There  is,  then,  an  ABSTRACTED  MOOD  of  delivery,  which 
is  meditative  and  inexpressive,  and  which  ought  always 
to  be  avoided. 

These  considerations  suggest  an  explanation  of  the  fact  so 
commonly  observed,  that  eloquent  writers  are  not  always  elo- 
quent speakers.  It  is  also  true,  on  the  other  hand,  that  many 
eloquent  extemporaneous  speakers  cannot  write  with  eloquence. 
The  minds  of  the  former  class  work  best  in  solitude,  and  are 
rendered  confused  and  feeble,  by  the  presence  of  their  fellow 
men.  The  latter  class  have  their  minds  aroused  by  the  pres- 
ence of  an  audience.  The  former  are  hindered,  and  the  latter 
excited,  assisted  and  encouraged,  when  occupying  the  situation 
of  a  speaker. 


STYLES     OF    ADDRESS.  341 

The  peculiarly  impressive  tone  which  we  so  often  hear  in 
public  prayer,  is  an  exemplification  of  the  meditative  mood  in 
delivery.  When  most  appropriate,  it  differs  little,  if  at  all,  from 
the  tone  of  a  loud  and  earnest  soliloquy.  In  most  cases  also, 
the  awe  which  the  person  officiating  experiences,  makes  his  voice 
highly  pathetic,  that  is,  causes  it  to  proceed  in  the  intonation  of 
the  semitone,  which  will  hereafter  be  described. 

As  the  most  elevated  and  interesting  delivery  generally  ex- 
hibits a  mixture  of  both  the  two  moods  which  have  just  been 
described,  it  is  a  useful  expedient  for  a  student  of  elocution  to 
practise  repeating  the  same  passage  in  each  of  them  separately, 
and  afterwards  to  make  use  of  such  a  medium  between  the  two 
extremes,  as  is  most  appropriate  for  the  composition,  and  for 
the  time,  place  and  occasion,  in  which  he  is  preparing  to  speak. 
On  some  occasions  likewise,  one  or  the  other  mood  is  required, 
without  any  admixture  of  its  opposite. 

No  separate  examples  are  therefore  required  for  practising 
the  moods.  Any  extract  may  be  employed  for  either  or  both. 
No  compositions  except  soliloquies,  are  confined  to  one  mood, 
in  every  possible  circumstance. 


CHAPTER  II. 

STYLES     OF     ADDRESS. 

THESE  are  independent  of  the  Moods,  and  are  of  two  classes, 
according  as  they  represent  thought  or  sentiment ;  according  as 
they  attempt  to  compel  conviction,  or  simply  make  an  appeal. 

The  styles  which  set  forth  thought,  address  chiefly 
the  understandings  of  the  audience. 

Those  of  sentiment,  appeal  primarily  to  imagination 
and  feeling. 

The  two  classes  are  opposed  to  each  other. 


342  EXPRESSION. 

Their  general  characteristics  may  be  explained  by  referring 
to  exemplifications  of  each,  with  which  all  are  familiar. 

Suppose  a  debater  earnestly  contending  for  victory  on  an  ex- 
clusively logical  question  ;  or  a  lawyer  engaged  in  a  purely  le- 
gal argument  before  a  judge.  In  either  case,  there  is  no  room 
for  imagination  or  sentiment;  the  understanding  alone  is  ad- 
dressed. The  feelings  which  give  warmth  and  animation  to 
the  delivery,  are  those  only  which  accompany  pure  argument, 
and  strife  for  victory  in  debate.  Such  oratory  is  in  one  of  the 
styles  characterized  by  the  expression  of  thought,  and  an  effort 
to  compel  assent. 

On  the  other  hand,  how  different  are  the  examples  of  genu- 
ine poets,  or  of  interesting  clergymen,  who  express  ideas  of 
imagination  and  sentiment,  as  well  as  of  logical  reasoning. 
These  do  not  force  us,  they  interest  us.  Instead  of  being  driv- 
en, as  it  were,  by  the  energy  of  their  understandings  and  wills, 
we  voluntarily  sympathize,  and  take  pleasure  in  coinciding 
with  them.  Although  sentimental  delivery  exhibits  thought, 
yet  it  appeals  primarily  to  the  imagination.  Nor  does  the 
speaker  aim  to  force  others  to  feel  with  him ;  he  himself  feels 
with  them.  His  will  and  energy  of  character  are  not  brought 
to  bear  upon  them,  to  produce  a  change  in  their  feelings  and 
convictions.  The  utmost  compulsion  attempted,  is  that  of  an 
earnest  and  sympathizing  appeal. 

Argument  with  a  direct  effort  to  carry  a  point,  may  indeed 
be  assisted  by  imagination  and  sentiment;  but  in  this  case  the 
latter  are  not  simply  spontaneous ;  they  are  made  use  of  as  addi- 
tional instruments  of  compulsion.  The  speaker  gives  utterance 
to  them,  not  from  mere  impulse,  but  because  he  intends  to  in- 
fluence others  by  them. 

Although  particular  styles  of  composition  most  natu- 
rally suggest  corresponding  styles  of  address,  yet  any 
composition  admits  of  being  read  or  spoken  in  any  style. 


STYLES     OF    ADDRESS.  343 

Even  pure  logical  argument  may  be  exhibited  with  a  senti- 
mental manner  of  presentation.  The  speaker  may  avoid  affirm- 
ing positively,  but  content  himself  with  stating  or  offering  his 
arguments,  and  then  leaving  his  hearers  to  coincide  with  him  or 
not.  This  is  the  most  agreeable,  and  one  of  the  most  common 
modes  of  presenting  argument,  in  conversation. 

The  most  appropriate  names  of  the  two  classes  of  styles,  will 
be  different,  according  to  the  aspects  under  which  they  are 
viewed.  If  regard  be  had  to  the  nature  of  the  compositions 
which  respectively  demand  them,  they  will  be  called  those  of 
thought  and  reasoning,  on  the  one  hand,  and  those  of  imagina- 
tion and  sentiment,  on  the  other.  The  other  aspect  regards 
the  sort  of  exertion  made  by  the  speaker,  and  according  as  he 
endeavors  to  compel  his  hearers,  or  contents  himself  with  ap- 
pealing to  them,  they  might  be  termed  the  compulsory,  and  the 
appealing  styles;  or  they  might  receive  the  names  of  active, 
and  passive. 

We  think  it  best,  however,  to  name  the  two  classes  accord- 
ing to  the  demands,  in  ordinary  circumstances,  of  the  composi- 
tion to  be  delivered.  When  the  understanding  is  primarily  ad- 
dressed, the  thoughts  are  affirmed,  and  if  they  are  enforced,  it 
is  done  by  forcible  affirmation.  This  produces  what  is  called 
forcible  declamation ;  and  we  should  adopt  the  term  declama- 
tion, were  it  not  that  it  is  often  used  as  one  of  disparagement  in 
criticisms  on  oratory.  The  term  didactic  might  be  employed, 
except  that  the  word  has,  in  strict  propriety,  a  more  limited 
meaning. 

We  shall  therefore  call  the  two  classes :  the  AFFIRMATIVE, 
and  the  SENTIMENTAL  styles  of  address. 

The  distinctions  which  we  are  now  considering,  are  liable  to 
be  confounded  with  those  of  the  Moods  of  delivery.  Yet  they 
are  entirely  different.  Although  argumentative  or  forensic 
speaking  generally  proceeds  in  the  Direct  Mood,  yet  it  may 
with  propriety  be  more  or  less  Meditative.  The  speaker  may 


344  EXPRESSION. 

affirm  either  to  himself,  or  to  others,  or  to  both.  So  too,  the 
delivery  which  springs  from  imagination  and  sentiment,  may 
either  proceed  in  the  direct  mood,  and  appeal  to  others,  to  be- 
speak their  attention  and  sympathy,  or  it  may  be  in  the  medi- 
tative mood,  and  exhibit  no  especial  directing  of  look,  voice  and 
gesture,  towards  the  audience. 

The  whole  number  of  the  unmixed  styles  of  address,  in  prac- 
tical speaking,  is  twelve.  One  hxilf  of  them,  however,  are  mod- 
ifications of  the  others,  and  thus  we  have  six  primary  divisions. 
Each  class  has  three  styles,  as  exhibited  in  the  following  table. 

I.  Affirmative  Styles. 

1.  Affirmation. 

a.  Explanatory  Affirmation. 

2.  Impassioned  Affirmation. 

a.  Impassioned  Explanatory  Affirmation. 

3.  Contentious  Affirmation. 

a.  Contentious  Explanatory  Affirmation. 

II.  Sentimental  Styles. 

1.  Simple  Sentiment. 

a.  Simple  Pathetic  Sentiment. 

2.  Impassioned  Sentiment. 

a.  Impassioned  Pathetic  Sentiment. 

3.  Hortatory  Sentiment. 

a.  Hortatory  Pathetic  Sentiment 

In  each  class,  the  second  style  is  more  powerful  than  the 
first,  and  the  third  than  the  second.  The  three  styles  in  each 
may  therefore  be  considered  as  different  degrees,  as  well  as 
different  kinds  of  force.  The  description  of  them  under  their 
several  heads,  will  show  that  nature  has  appropriated  a  definite 
and  precise  tone  of  voice  for  each. 

It  may  be  asked,  are  there  no  mixed  styles?  We  believe 
there  are  but  few.  Each  style  may  be  in  one  of  the  two  moods, 
or  in  a  medium  between  them.  They  may  also  be  exhibited 


STYLES    OF    ADDRESS.  345 

with  a  difference  in  respect  of  qualities  which  do  not  influence 
the  style;  the  principal  of  which  me  familiarity,  and  its  oppo- 
site, gravity;  force,  and  its  opposite,  moderation;  liveliness, 
which  is  made  up  of  familiarity  and  force;  dignity,  which  re- 
quires gravity  and  some  degree  of  the  meditative  mood ;  suavity 
which  is  effected  by  a  smooth  quality  of  voice,  and  sometimes 
by  a  prolonged  vanish  ;  and  sympathy,  which  depends  to  a  con- 
siderable extent  on  look  and  gesture,  but  likewise  employs  a 
clear  and  reedy  tone  of  voice. 

The  first  style  in  each  class,  viz.  that  of  Simple  Af- 
firmation, and  that  of  Simple  Sentiment,  is  not  necessa- 
rily destitute  of  force. 

On  the  contrary,  some  of  the  most  powerful  passages  of  dec- 
lamation, as,  for  instance,  that  from  Plunket,  on  p.  267,  exhibit 
a  vehement,  but  yet  unimpassioned  force  of  delivery;  and  on 
a  similar  principle,  many  of  the  most  powerful  passages  of  sen- 
timent, are  likewise  unimpassioned.  An  impassioned  style, 
however,  is  more  strongly  influential  on  an  audience,  than  the 
highest  degree  offeree  with  an  unimpassioned  manner. 

The  impassioned  styles  are  distinguished  by  some  personal 
emotion  of  the  speaker,  which  colors  his  whole  intonation. 
The  emotion  is  often  some  definite  feeling,  such  as  surprise, 
wonder,  triumph,  exultation,  sorrow,  pity,  regret,  and  various 
others,  which  all  have  names,  and  each  of  which  is  generally 
furnished  by  nature,  with  a  certain  mode  of  exhibition.  Yet 
no  style  of  delivery,  according  to  the  above  classification,  de- 
pends on  the  peculiar  nature  of  the  emotion  or  passion  exhibited. 
They  are  determined  rather  by  the  presence  or  absence  of  any 
emotion  at  all,  affecting  the  current  tone  of  voice,  and  em- 
ployed, not  for  its  own  sake,  but  as  an  expression  of  earnest- 
ness. The  modifications  of  tone  which  distinguish  the  styles, 
are  entirely  independent  of  those  which  constitute  the  natural 
language  of  the  different  passions.  The  study  of  the  latter  is 

30 


346  EXPRESSION. 

not  necessary  for  oratory,  being  required  only  in  the  art  of  act- 
ing ;  in  artistic  recitation  ;  and  in  such  speaking  as  is  intended 
to  exhibit  a  display  of  art,  or  in  other  words,  is  intentionally 
executed  as  a  sort  of  acting. 

In  fact,  it  is  not  necessary  that  Impassioned  Affirmation  or 
Sentiment,  in  delivery,  exhibit  any  one  of  the  various  passions. 
The  word  impassioned  does  not,  in  common  usage,  necessarily 
convey  such  a  meaning.  We  familiarly  speak  of  impassioned 
earnestness,  and  it  is  in  this  sense  that  we  employ  the  word  in 
our  classification.  We  may  affirm  a  truth  with  great  force  of 
delivery,  or  we  may  do  so  with  an  impassioned  earnestness  of 
affirmation.  The  distinction  between  the  two  we  shall  explain 
more  fully,  when  we  treat  of  each  style  specifically. 

Previous,  however,  to  describing  and  illustrating  each,  it  will 
be  satisfactory  to  the  student,  to  present  a  brief  explanation  of 
the  discoveries  made  by  Dr.  Rush,  in  regard  to  the  vocal  func- 
tions by  which  they  are  executed.  But  although  this  gentle- 
man has  described  them  with  his  accustomed  accuracy,  he  has 
not  systematically  appropriated  them  to  their  natural  uses. 

Every  syllable  in  discourse  has  a  slide.  A  slide  is  either 
simply  upwards  or  downwards;  or  it  proceeds  first  in  one  direc- 
tion and  then  in  its  opposite,  constituting  a  wave. 

Explanatory  expression  is  (in  our  opinion,)  given  by  a  wav- 
ing slide.  An  expression  which  is  not  explanatory,  has  a  slide 
simply  upwards  or  downwards. 

But  the  slide  may  be  without  any  stress,  or  force  of  utterance, 
on  one  portion  more  than  on  another ;  or  it  may  have  stress  on 
different  parts.  The  stress  may  be  on  the  beginning,  i.  e.  at  the 
first  issuing  of  the  syllable ;  or  in  the  middle  ;  or  at  the  end. 
It  may  also  be  first  at  the  beginning,  and  then  at  the  end ;  and, 
finally,  it  may  be  a  stress  carried  with  great  energy  throughout 
the  whole  extent  of  the  slide.  Each  of  these  six  variations  in 
respect  of  stress  is  the  characteristic  of  a  distinct  style. 


UNIMTASSIONED     AFFIRMATION.  347 

These  distinctions  have  long  been  recognized  in  music,  and 
have  each  received  an  appropriate  name,  with  reference  to  style 
of  musical  expression.  Indeed,  so  far  as  we  can  discover,  after 
improving  every  opportunity,  for  many  years,  of  listening  to 
well  executed  music,  expression  in  this  art  is  produced  by  the 
same  means  as  in  either  reading,  speaking  or  conversation. 

It  must  be  borne  in  mind  that  expression,  whether  in  music 
or  in  elocution,  is  something  which  characterizes  every  note  or 
syllable.  Each  style  of  delivery  has  therefore  a  peculiar  mode 
of  uttering  all  the  syllables,  which  is  independent  of  emphasis, 
inflexion,  or  any  other  element  of  utterance:  Yet  it  will,  of 
course,  be  most  conspicuous  on  accented  and  on  emphatic  syl- 
lables, as  well  as  on  those  which  have  long  quantity,  or  which 
are  delivered  with  slowness,  or  with  energy.  The  same  is 
equally  true  of  notes  in  music. 

We  now  proceed  to  describe  and  exemplify  the  several  styles. 
Under  each  head  we  shall  also  refer  to  such  of  the  preceding 
extracts  as  belong  to  it,  and  thus  classify  all  in  the  volume,  in 
respect  to  styles  of  delivery. 

UNIMPASSIONED    AFFIRMATION. 

This  may  be  exhibited  either  with  calmness,  with  ani- 
mation, or  with  a  vehement  and  even  violent  force. 

It  is  used  for  stating  pure  fact  or  thought,  provided  the 
statement  is  made  by  assertion,  and  without  an  appeal. 

Its  tone  is  that  produced  by  the  unvarying  recurrence  of 
stress  upon  the  beginning  of  each  syllable.  This  "  radical 
stress"  is  instantly  followed  by  the  commencement  of  the  van- 
ishing movement  on  the  syllable  :  vide  p.  61. 

It  has  been  already  described  in  part  first,  p.  67.  But  we 
then  had  in  view  a  high  degree  of  this  mode  of  enforcement, 
with  reference  merely  to  preparatory  exercises  of  the  voice ; 
such  being  the  easiest  and  most  common  form  of  Animation. 


348  EXPRESSION. 

In  the  compositions  to  which  this  style  of  delivery  is  most  ap- 
propriate, there  is  commonly  a  frequent  occurrence  of  emphatic 
falling  inflexions,  which  are  accompanied  by  the  downward 
stroke  in  gesture.  It  often  happens  likewise,  that  circumflex 
inflexions  occur  on  such  emphatic  words  as  demand  a  pointed 
designation,  but  yet  require  to  end  with  a  rising  inflexion,  on 
account  of  suspension  of  sense. 

Among  our  previous  extracts,  may  be  classed  under  this  style, 
those  commencing  on  p.  267  (which  should  be  vehement) — on 
p.  282  (which  is  calm) — on  p.  296 — the  intensive  passages, 
pp.  297  and  298^-and  the  remonstrative,  p.  303. 

The  following  extract  may  be  spoken  without  impropriety  in 
the  next  style,  viz.  that  of  Explanatory  Affirmation.  But  if 
carefully  examined,  it  will  be  perceived  to  belong  to  that  now 
under  consideration.  It  may  be  spoken,  either  calmly,  or  with 
a  high  degree  of  force. 

ON   THE    FEDERAL    CONSTITUTION. 

/ 

When  we  have  formed  a  constitution      upon  free  principles, 

/ 
when  we  have  given  a  proper  balance 

to  the  different  branches  of  administration, 

/ 
and  fixed  representation 

/ 
upon  pure  and  equal  principles, 

we  may,      with  safety, 

\ 
furnish  it  with  all  the  powers 

necessary  to  answer,      in  the  most  ample  manner , 
the  purposes  of  government. 
The  great  desiderata, 


UNIMPASSIONED     AFFIRMATION.  349 

are  nfree  representation,      and  mutual  checks. 
When  these  are  obtained, 

all  our  apprehensions  -  of  the  extent  of  powers, 

\ 
are  unjust      and  imaginary. 

What,  then,  is  the  structure 

\ 
of  this  constitution  ? 

One  branch  of  the  legislature 

is  to  be  elected      by  the  people — 

by  the  same  people      who  choose  your  state  representatives. 

Its  members      are  to  hold  their  office  two  years, 

\ 
and  then      to  return  to  their  constituents. 

Here,      Sir, 

\ 

the  people  govern : 

\ 
here  they  act, 

by  their  immediate  representatives. 

\ 
You  have  also  a  senate, 

\ 

constituted  by  your  state  legislatures — 

\ 
by  men,  in  whom  you  place  the  highest  confidence, 

and  forming  anotlier  representative,  branch. 
Then,  again,  you  have  an  executive  magistrate, 

created  by  a  form  of  election, 
30* 


350  EXPRESSION. 

\ 

which  merits  universal  approbation. 
In  the  form  -  of  this  government, 

and  in  the  mode  of  legislation, 

\ 
you  find  all  the  checks, 

which  the  greatest  politicians,      and  the  best  writers, 

have  ever  conceived. 

The  entire  organization      is  so  complex, 

so  skilfully  contrived, 

\ 

that  it  is  next  to  impossible, 

that  an  impolitic,      or  wicked  measure, 

should  pass  the  great  scrutiny,      with  success. 

\ 
Now,      what  do  gentlemen  mean, 

\ 

by  coming  forward,     and  declaiming  -  against  this  government  1 

Why  do  they  say, 

\ 

we  ought  to  limit  its  powers, 

\ 
to  disable  it, 

\ 
and  to  destroy  its  capacity  -  of  blessing  the  people  ? 

/ 

Has  philosophy      suggested, 

/ 

has  experience      taught, 

that  such  a  government 

/ 
ought  not  to  be  trusted, 


EXPLANATORY     AFFIRMATION.  351 

/ 

with  every  thing  necessary  -  for  the  good  of  society  1 

\/ 

Sir,      when  you  have  divided      and  nicely  balanced      the  de- 
partments of  government, 
when  you  have  strongly  connected      the  virtue  of  your  rulers 

\/ 
[with  their  interests, 

when,      in  short,      you  have  made  your  system      as  perfect 

\/ 

\  [as  human  forms  can  be, 

you  must  place  confidence, 

\ 
you  must  give  power. 

ALEXANDER  HAMILTON. 

1.  a.   EXPLANATORY  AFFIRMATION. 

This  combines  an  explanatory  tone  with  enforce- 
ment of  Affirmation  by  radical  stress.  A  careful  effort 
to  explain  all  our  ideas,  causes  each  syllable  to  have  a 
waving  slide. 

Though  many  syllables  are  so  short  as  to  afford  no  opportu- 
nity for  a  perceptible  wave,  yet  even  such  exhibit  a  vocal  effort 
towards  one.  On  the  longer  syllables,  the  wave  is  conspicuous, 
and  especially  on  the  accented  vowels  of  emphatic  words. 

The  gestures,  in  this  style  of  address,  incline  more  than  in 
the  preceding,  to  waving  and  sideway  motions,  and  are  espe- 
cially characterized  by  gesticulations  made  from  the  wrist,  in- 
stead of  from  the  elbow,  or  shoulder. 

As  the  voice  endeavors  to  proceed,  as  much  as  possible  with 
waving  slides,  the  syllables  are  more  prolonged  than  in  the  pre- 
ceding styles,  and  the  articulation  of  the  terminal  letters  of 
words  is  particularly  distinct. 

Note.— In  part  first  of  this  work,  the  section  (p.  129)  on  the  Tone  of 
Communicating  Thought,  has  partially  anticipated  our  present  subject. 
But  in  that  section  we  had  reference,  not  to  particular  styles  of  address, 


352  E£PR 


ESSION. 


but  to  that  general  care  by  which  every  part  of  delivery  is  so  managed  as 
to  appear  like  an  actual  exposition  of  ideas,  and  not  like  an  abstract  and 
absent  minded  enunciation  of  words  instead  of  thoughts  and  feelings. 

The  extracts  on  pp.  268,  274,  and  278,  demand  this  style  of 
delivery,  and  a  high  degree  of  force  and  power. 

The  following  extract  is  explanatory,  as  well  as  didactic ;  but 
familiar  and  lively,  rather  than  forcible. 


Speak  the  speech,      I  pray  you, 

\ 
as  /     pronounced  it  to  you ; 

\ 
TRIPPINGLY      07i  the  tongue. 

/ 
But  if  you  mouth  it,      as  many  of  our  players  do, 

\ 
I  had  as  lief  the  town  crier      had  spoken  my  lines. 

\ 
And  do  not  -  saw  the  air  -  too  much, 

\  /\ 

with  your  hands,      thus ; 

\ 
but  use  all     gently. 

\ 

For  in  the  very  torrent, 

\ 
tempest, 

and,  as  I  may  say,      whirlwind  -  of  your  passion, 

\ 
you  must  acquire  and  beget      a  temperance, 

\ 
that  may  give  it  smoothness. 

\ 

Oh !  it  offends  me  to  the  soul, 

to  hear  a  robustious,      periwig-pated  fellow, 

\ 
tear  a  passion      to  tatters, 


EXPLANATORY  AFFIRMATION. 


\ 

to  very  rags, 


\ 


to  split  the  ears      of  the  groundlings, 

who,      for  the  most  part, 

\ 
are  capable 

of  nothing  -  but  inexplicable  dumb  shows,      and  noise. 

\ 
Pray  you,      avoid  it. 

\ 
Be  not  too  tame,  -  neither  ; 

\ 
but  let  your  own  discretion 

\ 
be  your  tutor. 

Suit  the  action      to  the  word, 

\ 

the  word      to  the  action  ; 


with  this  special  observance, 


\ 


that  you  o'erstcp  not       the  modesty  of  nature ; 

for  any  thing  so  overdone 

\ 
is  from  the  purpose 

of  playing ; 

whose  end  is, 

\ 
to  hold,      as 'twere,      the  mirror,      up  to  nature; 

to  show  virtue      her  own  feature, 

scorn,      her  own  image,  \ 

[pressure. 
and  the  very  age  -  and  body  -  of  the  time,      his  form  and 


354  EXPRESSION. 

/ 

Now,  this      overdone, 

\ 
or  come  tardy  off, 

/ 

though  it  make  the  unskilful      laugh, 

\/  \ 

cannot  but  make  the  judicious      grieve ; 

\ 
the  censure  of  one  of  which 

must,      in  your  allowance, 

\ 
over  weigh      a  whole  theatre 

/ 
of  others. 

Oh !  there  be  players,      that  I  have  seen  play, 

\ 
and  heard  others      praise, 

\ 
and  that      highly, 

/ 
that,  having  neither  the  accent      of  Christian, 

\ 
nor  the  gait 

\ 
of  Christian,      pagan,      nor  man, 

have  so  -  strutted,  and  bellowed, 

\  [men, 

that  I  have  thought  some  of  nature's  journeymen      had  made 

\ 
and  not  made  them  well; 

they  imitated      humanity 

so  abominably  ! 

SHAKESPEARE. 


IMPASSIONED   AFFIRMATION.  355 

2.  IMPASSIONED  AFFIRMATION. 

In  the  preceding  styles,  a  speaker  may  be  highly  vehement, 
and  yet  exhibit  a  degree  of  coolness;  the  force  with  which  he 
speaks  proceeding  from  clearness  of  understanding,  and  energy 
of  affirmation. 

The  present  style  implies  personal  feeling  and  impas- 
sioned earnestness  ;  and  is  accordingly  more  powerful  in 
its  effect,  when  employed  with  energy. 

Passages  which  demand  this  style,  in  addition  to  impassioned 
earnestness,  generally  exhibit  frequent  colorings  from  various 
emotions  which  accompany  excited  argument ;  such  as  wonder 
at  absurdity ;  surprise  at  mistakes ;  contempt  for  false  reasoning ; 
triumph  in  view  of  truth ;  indignation  at  error ;  joy,  satisfaction, 
complacency,  confidence,  and  others. 

The  tone  of  Impassioned  Affirmation,  is  the  median 
stress  ;  i.  e.  a  stress  in  the  middle  of  each  syllable. 

Tn  music,  this  is  called  the  swell,  and  produces  the  same  ef- 
fect as  in  elocution,  when  given  on  notes  no  longer  than  the 
syllables  of  speech. 

The  swell  is  generally  sudden.  In  the  radical  stress  of  the 
preceding  styles,  the  first  issuing  sound  of  the  vowel  is  the  loud- 
est part  of  the  slide.  The  median  stress  begins  with  a  slight 
sound  of  the  vowel,  which  instantly  swells  to  a  forcible  one,  and 
immediately  afterwards  ends  with  a  quick  vanish  at  the  end  of 
the  syllable. 

The  gestures  in  this  style,  are  slower  and  less  sudden.  The 
sweeping  motions  of  the  arm  are  wider,  and  with  a  slow  strength. 
The  breast  is  heaved  up,  and  swells  with  earnestness,  and  the 
muscles  of  the  arm  are  nerved  to  the  highest  state  of  tension. 

Among  our  extracts  in  previous  chapters,  those  demanding 

iis  style,  are  on  pp.  53,  110,  117,  120,  220,  261,  271,  281. 


356  EXPRESSION. 

The  following  is  from  a  speech  by  Brougham,  on  the  occa- 
sion of  a  solemn  affirmation  made  by  the  Duke  of  York,  that  in 
the  not  improbable  event  of  his  succeeding  to  the  crown,  he 
should  never  approve  a  bill  for  Catholic  emancipation.  It  re^ 
quires  the  most  vehement  enforcement. 

Will  any  man  tell  me, 

/ 

that  he  has  NOW      confident  hopes  of  the  Catholic  Question  ? 

/ 
Does  any  man      really  believe  NOW 

that  the  Catholic  Bill      will  pass  ? 

\ 
Does  any  man  believe 

that  the  ominous  news  of  this  day, 

which  has  gone  forth  to  England  and  Ireland, 

\ 
will  not  ring  the  knell  of  despair      in  the  ears  of  the  Catholics  ? 

/ 
Instead  of  a  majority  -  of  twenty  seven  members  of  this  house, 

/ 
to  save  the  empire  from  convulsion, 

I  believe  nothing      can  save  Ireland, 

nothing  can  preserve  the  tranquillity  of  Ireland, 

\  / 

and  save  England      from  new  troubles, 

\ 
but  an  OVERWHELMING  majority. 

\ 
Now,  too      is  the  time, 

\ 
or  not  for  years. 

\ 
This      is  the  hour  of  its  good  fortune. 

\ 
This  reign— 


IMPASSIONED     AFFIRMATION, 


357 


\ 

the  present  reign, 

is  the  critical  moment  •  of  its  probable  success. 

\ 
The  time  may  pass  quickly  by  you ; 

\ 
the  glorious  opportunity      may  soon  be  lost. 

After  a  little  sleeping,      and  a  little  debating, 
and  a  little  sitting  upon  these  benches, 
and  a  little  folding  of  your  arms, 

and  a  short  passing  space      of  languid  procrastination, 

\ 
the  present  auspicious  occasion      will  have  DISAPPEARED, 

\ 

and  the  dominion  of  BIGOTRY      and  DESPOTISM 

\ 
will  come,  in  all  its  might,      upon  our  slumberings, 

\ 
like  an  arm  -  ed  man,  -  in  the  night, 

and  destroy  the  peace  of  Ireland, 

endanger  the  safety  of  England, 

\ 
and  threaten  the  liberties      of  the  general  empire. 

It  becomes  us,  then, 

\ 
to  set  our  house  in  order,      by  times, 

and  to  recollect,  / 

[majority  of  nineteen, 
that  if  we  carried  up  the  Bill,      on  a  former  occasion,      by  a 

and  it  failed  in  the  house  of  Peers, 

31 


358  EXPRESSION. 

\ 

there  is  ten  thousand  fold  the  necessity  / 

[conclusion, 
for  taking  this  last  opportunity  -  of  bringing  the  question  to  a 

\/ 

because  an  event  may  happen, 

\ 
when  you  will  have  no  longer      the  option ; 

when  even  if  the  Bill  should  be  carried — 

/ 
not  by  a  majority  of  nineteen,      or  twenty  seven, 

\ 
but  by  a  unanimous  vote  -  of  both  houses  of  Parliament, 

\ 
and  the  voice  of  the  whole  country, 

\ 
even  if  the  country  streamed  with  blood, 

the  measure      could  not  be  effected, 

\ 
except  by  an  inseparable  breach  -  with  the  Crown. 

BROUGHAM. 

In  the  following  magnificent  defense  of  his  conduct  by  De- 
mosthenes, we  mark  many  of  the  questions  with  falling  slides, 
to  indicate  the  triumphant  tone  with  which  they  should  be  put. 
A  powerful  effect  is  also  produced  by  intensive  emphases. 

\ 
Athenians !      consider ; 

\ 
what  was  the  part      of  a  faithful  citizen  1 

\ 
Of  a  prudent,      an  active,      and  an  honest  minister  ? 

/ 

Was  he  not      to  secure  Eubcea, 

/ 

as  our  defence  against  all  attacks  -  by  sea  ? 

/  / 

Was  he  not  to  make  Bceotia    our  barrier  on  the  midland  side  ? — 


IMPASSIONED     AFFIRMATION.  359 

/  /  [ter? 

the  cities  bordering  on  Peloponnesus     our  bulwark  on  that  quar- 

\ 

[tion  of  corn, 
Was  he  not      to  attend,  with  due  precaution,  -  to  the  importa- 

that  this  trade      might  be  protected,      through  all  its  progress , 

\ 
up  to  our  very  harbor  ?  \ 

[seasonable  detachments — 
Was  he  not  to  cover  those  districts  which  we  commanded,      by 

\  \  \ 

as  the  Proconesus,      the  Chersonesus,      and  Tenedos  ? 

\ 
To  exert  himself  -  in  the  assembly,      for  this  purpose, 

while,  with  equal  zeal, 

he  labored  to  gain  others      to  our  interest  and  alliance, 

\  \  \ 

as  Byzantium,      Abydos,      and  Eubcea  ? 

\ 
Was  he  not     to  cut  off 

/ 
the  best  -  and  most  important  resources      of  our  enemies, 

\/  \ 

and  to  supply      those  in  which  our  country  -  was  defective  ? 

And  all  this  you  gained 

\  t 
by  my  counsels,      and  my  administration. 

Such  counsels, 

and  such  an  administration, 

as  must  appear,      upon  a  fair  -  and  equitable  view, 

\ 

the  result  -  of  strict  integrity; 

\ 

such  as  left  no  favor  able  juncture      unimproved, 


360  EXPRESSION. 

\ 

through  ignorance,      or  treachery ; 

\ 

SUCh  as  EVER  HAD  THEIR  DUE  EFFECTS, 

as  far  as  the  judgment  and  abilities      of  one  man 

\ 

could  prove  effectual. 

\/ 
But      if  some  Superior  Being, 

\/ 

if  the  misconduct  -  of  your  generals, 

\/ 
if  the  iniquity  -  of  your  traitors, 

\/ 
or  if  aU  these  together      broke  in  upon  us, 

and,  at  length,      involved  us  in  one  general  devastation, 

\ 
how      is  DEMOSTHENES      to  be  blamed  ? 

\ 
Had  there  been  a  single  man, 

in  each  Grecian  state, 

/ 
to  act  the  same  part      which  /     supported  in  this  city ; 

\ 

nay, 

had  but  one  such  man      been  found  in  Thessaly, 

\ 
and  one  in  Arcadia, 

/ 
actuated  -  by  my  principles, 

\ 
not  a  single  Greek, 

\ 
either  beyond,      or  on  this  side  Thermopylae, 

could  have  experienced  the  misfortunes  -  of  this  day. 

\ 
All     had  then  been  FREE      and  INDEPENDENT, 


IMPASS.     E  X  P  L  A  N  .     AFFIRMATION.  361 

\ 
in  PERFECT  TRANQUILLITY,        SECURITY,        and  HAPPINESS, 

/ 

uncontrolled,    in  their  several  dominions,    by  any  foreign  power, 

and  jilled  with  gratitude      to  you  and  to  your  state, 

\ 

the  authors  of  these  blessings      so  extensive  and  so  precious. 

And  all  this      by  my  means. 

DEMOSTHENES. 

2,  a.   IMPASSIONED  EXPLANATORY  AFFIRMATION. 

This  differs  from  the  preceding,  in  the  employment  of  waves, 
and  in  the  earnest  long  quantity  which  they  require. 

The  following  extract  from  an  argument  before  a  jury,  will 
readily  suggest  the  peculiarly  powerful  declamation  which  con- 
stitutes this  style. 

In  the  case  -  of  a  civil  action,      Gentlemen  of  the  Jury, 

\  / 

throughout  the  whole  range      of  civil  injuries, 

the  master      is  always,      civilitcr, 

.     \ 
answerable      for  the  act  of  his  servant  or  agent; 

and  accident     or  neglect 

can  therefore  be  no  answer 

\ 

to  a  plaintiff  -  complaining  of  a  consequential  wrong. 

/ 
If  a  driver  of  a  public  carriage 

/ 
maliciously  overturns  another,      upon  the  road,  / 

[distance, 
whilst  the  proprietor     is  asleep  in  his  bed,      at  a  hundred  miles 

the  party  injuring 

31* 


362  EXPRESSION. 

\ 

must,  unquestionably,      pay  the  damages,      to  a  farthing  ; 

/ 

but  though  such  malicious  servant      might  also  be  indicted, 

\/ 
and  suffer  an  infamous  judgment, 

/  [tion  ? 

could  the  MASTER,  also,      become  the  object  of  such  a  prosecu- 

\ 
Certainly  not! 

\ 
In  the  same  manner,      partners  in  trade 

are,  civilly,      answerable  for  bills  drawn  by  one  another, 

or  by  their  agents      drawing  them  by  procuration, 

\ 
though  -  fraudulently, 

\ 
and  in  abuse  of  their  trtists ; 

/ 
but  if  one  partner  commits  a  fraud, 

/ 
by  forgery,      or  fictitious  endorsements, 

/  [indictment, 

so  as  to  subject  himself     to  death,  -  or  other  punishment  by 

/ 

could  the  other  partners      be  indicted  ? 

\ 
To  answer  such  a  question,  here,      would  be  folly ; 

/  / 

because  it  not  only  answers  itself,      in  the  negative, 

\ 
but  exposes  to  scorn  \ 

[civil  actions, 
every  argument       which  would  confound  indictments      with 

\ 
Why,  then,      is  printing  and  publishing 

\ 
to  be  an  exception  -  to  every  other  human  act? 

Why  is  a  man  to  be  answerable      criminalitert 


IMPASS.    EXPLAN.    AFFIRMATION.  363 

/ 

for  the  crime  of  his  servant,      in  this  instance, 

\ 
more  than  in  all  other  cases? 

/ 
As  far,  indeed,      as  damages  go, 

\ 

the  principle  is  intelligible  and  universal; 


but  as  it  establishes  a  crime,  \/ 

\  /  [disgrace, 

and  inflicts  a  punishment    which  affects  character    and  imposes 

\ 
it  is  shocking  to  humanity,      and  insulting  to  common  sense. 

\ 
How  is  this  vindicated? 

\/  \ 

From  the  supposed     necessity  of  the  case. 

\/ 
An  indictment  for  a  libel 

\ 
is,  therefore,      considered  to  be  an  anomaly  •  in  the  law. 

\/  \ 

It  was  held  so,     undoubtedly; 

\ 

but      the  exposition  of  that  error      lies  before  me; 

\ 
the  Libel  Act     lies  before  me, 

\ 

which,  expressly,      and  in  terms, 

directs  that  the  trial  for  a  libel  \ 

[CRIME  ; 
shall  be  conducted     like  EVERY  OTHER  TRIAL,     for  ANY  OTHER 

and  that  the  jury      shall  decide, 

not      upon  the  mere  fact  -  of  printing  or  publishing  , 

\ 
but  upon  the  whole  matter  put  in  issue,  \ 

[CHARGED  BY  THE  INDICTMENT. 
that  is,      the  publication  of  the  libel  -  WITH  THE  INTENTION 


364  EXPRESSION. 

\ 

THIS      is  the  rule  by  the  Libel  Act ; 

and  you  -  the  Jury,      as  well  as  the  Court,      are  bound  by  it. 

ERSKINE. 

3.  CONTENTIOUS  AFFIRMATION. 

This  might  also  be  called  the  Forensic  style ;  being  that  used 
in  the  most  vehement  debates,  and  by  lawyers,  in  their  most 
powerful  pleadings.  It  expresses  the  extreme  of  earnestness  in 
contending  for  victory,  or  in  striving  to  gain  a  cause  ;  and  calls 
for  a  corresponding  degree  of  mental  and  bodily  energy. 

Its  tone  is  that  of  the  compound  stress  ;  i.e.  a  stress 
first  at  the  beginning  and  then  at  the  end  of  a  syllable. 

The  middle  part  of  the  slide  is  less  forcible  than  the  com- 
mencement, and  instead  of  a  vanishing  termination,  a  sudden 
force  is  given  at  the  end.  Hence  the  terminal  consonants  of 
syllables  and  words  are  very  strongly  enunciated,  and  the  artic- 
ulation is  forcibly  distinct. 

The  gestures  are  numerous,  and  made  with  great  strength 
and  heartiness. 

The  extracts  on  pp.  56,  262,  and  275,  are  from  powerful 
pleadings  of  great  lawyers,  and  require  this  style. 

The  following  extract  is  from  a  speech  of  the  most  powerful 
of  the  French  orators.  Its  object  is  to  prevail  on  the  legislature 
to  adopt,  without  examination,  an  extreme  measure  intended 
to  rescue  France  from  national  bankruptcy. 

It  will  be  perceived  that  the  overpowering  vehemence  of  this 
style  and  the  next  one,  causes  the  groups  to  be  long ;  and  not 
only  multiplies  emphatic  words,  but  sometimes  makes  more 
than  one  emphatic  inflexion  necessary  in  a  phrase. 

Has  not  the  Minister  of  Finance 

\  \ 

drawn  a  most  ALARMING  PICTURE      of  our  present  situation? 

Has  he  not  told  you 


CONTENTIOUS    AFFIRMATION.  365 

\ 

that  delay     must  aggravate  the  evil  ? 

/  / 

that  a  day,      an  hour, 

\ 
a  moment , 

\ 
wza^  render  it      irremediable  1 

\ 
Have  we  any  other  plan, 

\ 
to  substitute  for  the  one  he  proposes  ? 

\ 
One  of  this  assembly      answers  yes  ! 

I  conjure  that  member      to  recollect, 

\ 
that  his  plan      is  unknown, 

\ 
that  it  would  require  time, 

\ 

to  explain  and  examine  it, 
\ 
that,  were  it  now  in  discussion, 

\ 

its  author      may,  perhaps,      be  mistaken ; 

\ 
or  if  not,      that  we  may  think  he  is, 

and  that,  without  the  concurrence  of  PUBLIC  OPINION, 

\ 
the  GREATEST  POSSIBLE  talents 

would  be  of  no  avail,      in  the  present  circumstances. 

\ 
I,  too, 

am/ar  from  thinking, 

/  [means ; 

that  the  minister      has  proposed  the  best  possible  ways  and 

but  at  this  critical  moment, 


366  EXPRESSION. 

\  \ 

I  cannot  even  think     of  placing  my  views      in  opposition  to  his. 

/ 
However  preferable,      I  may  deem  them, 

I  know  that  it  is  in  vain      for  me 

\ 
to  pretend  to  his      prodigious  popularity, 

\ 
the  reward  of  such  distinguished  services, 

\ 
to  his  long  experience, 

\  \ 

to  his  reputation      of  the  Jirst  financier  in  Europe, 

\ 
or  to  the  singular  -  and  unprecedented  good  fortune, 

which  has  marked  his  career, 

\ 
more  perhaps,  than  that  of  any  former  statesman. 

We  must,  therefore, 

come  back  to  the  plan  of  Mr.  Neckar. 

\ 
But,      "why  adopt  it  without  deliberation?" 

/ 
Do  you  think,  then,      that  we  have  TIME, 

/ 
to  examine  it  in  detail, 

/ 

to  discuss  the  principles,      and  go  over  all  the  calculations  ? 
\ 
No, 

\ 

NO, 

\ 

a  thousand  times  -  no. 

\ 
We  can  only  propose  insignificant  questions, 

\ 

and  superficial  conjectures. 


CONTENTIOUS    AFFIRMATION.  367 

\ 

What,  then,      shall  we  do,      by  deliberating? 

\ 
LOSE  the  decisive  MOMENT  ! 

involve  ourselves      in  disputes  -  about  the  details  of  a  scheme, 
which  we  really      do  not  understand; 

diminish,      by  our  idle  meddlings,      the  Minister's  credit, 

\  \ 

which  is,      and  ought  to  be,      greater  than  our  own. 

Gentlemen, 

/  \ 

Mis  course      is  both  impolitic,      and  dishonest.         / 

[the  idea  of  bankruptcy, 
I  would  ask  those  who  seem  to  be  accustoming  themselves  -  to 

/ 
in  preference  to  excessive  taxes, 

/ 
whether  a  NATIONAL  BANKRUPTCY  ! 

\ 
is  not  itself 

\ 
the  most  cruel! 

\ 
the  most  unjust! 

\ 
the  most  ruinous, 

\ 
of  all  possible  taxes  ? 

MlRABEAU. 

3.  a.   EXPLANATORY  CONTENTIOUS  AFFIRMATION. 

This  differs  from  the  preceding  in  the  employment  of 
waving  slides. 

Gentlemen  of  the  Jury, 

/ 
How  any  man      can  rationally  vindicate 


368  EXPRESSION. 

the  publication  -  of  such  a  book  as  Paine 's  Age  of  Reason, 

in  a  country      where  the  Christian  religion 

/ 

is  the  VERY  FOUNDATION   -   of  the  LAW  OF  THE  LAND, 
/ 

I  am  totally  at  a  loss  to  conceive, 

\ 
and  have  no  wish  to  discuss, 

\ 
How  is  a  tribunal,  -  / 

[and  practice 
whose  whole  jurisdiction      is  founded  upon  the  solemn  belief 

of  what  is  here  denied  as  falsehood     and  reprobated  as  impiety, 

\ 
to  DEAL  -  with  such  an  anomalous  defence? 

\ 
Upon  what  principle      is  it  even  OFFERED  to  the  court, 

whose  authority  is  contemned    and  mocked  at?  / 

[ously  adopted  in  belief  -  and  solemnly  acted  upon, 
If  the  religion  proposed  to  be  called  in  question      is  not  previ- 

\ 

what  authority  has  the  court     to  pass  any  judgment  AT  ALL, 

\ 
either  of  acquittal,      or  condemnation  ? 

Under  what  sanction, 

\ 
are  the  witnesses      to  give  their  evidence, 

\ 
without  which      there  can  be  no  trial? 

Under  what  obligations 

/ 
can  I  call  upon  you,      the  Jury  -  representing  your  country, 

\ 
to  administer  justice  ? 

\ 
Surely, 


STYLES     OF     SENTIMENT. 


369 


upon  no  other, 


\ 


than  that  you  are  sworn  to  administer  it,      under  the  oaths  you 
\  [have  taken. 

The  whole  judicial  fabric, 

\ 

fr^m  the  king's  sovereign  authority     to  the  lowest  office  of  mag- 
\  [istracy, 

has  no  other  foundation. 

\ 
The  whole 

is  built,      both  inform  and  substance, 

\  / 

upon  the  same  oath     of  every  one  of  its  ministers, 

to  do  justice, 


\ 


"  as  God      shall  help  them  hereafter." 


ERSKINE. 


STYLES    OP    SPEAKING   CHARACTERIZED    BY    SENTIMENT. 

These  have  been  enumerated  on  p.  344.  It  ought  to  be 
mentioned  that  all  poetry  is  to  be  read  in  one  of  them.  The 
same  assertion  may  be  made,  with  very  few  exceptions,  of 
dramatic  composition.  Conversation,  likewise,  is  generally  in 
the  style  of  simple  sentiment,  though  sometimes  becoming  im- 
passioned. These  styles  are  more  interesting  than  those  of 
thought,  and  sometimes  require  as  vehement  bodily  and  mental 
exertion.  Their  vehemence,  however,  is  of  a  different  kind  ; 
it  is  also,  as  will  hereafter  be  explained,  far  more  exhausting  to 
the  speaker. 

Sentimental  delivery  generally  uses  long  quantity,  and  con- 
sequently its  rhythm  (vide  p.  188)  is  often  such  as  in  the 
chapter  on  that  subject,  we  indicated  by  separating  the  letters 
of  many  of  the  words.  Vide  p.  148. 

32 


370  EXPRESSION. 

1.  UNIMPASSIONED  SENTIMENT. 

Which  we  have  also  called  Simple  Sentiment.  It  may  be 
calm  and  simply  interesting,  or  warm  and  glowing  in  various  de- 
grees, without  being  impassioned. 

Its  tone  is  a  prolongation  of  the  vowels  without  stress. 

Such  a  prolongation  makes  the  voice  more  musical ;  and  it 
will  be  found  a  good  direction  for  acquiring  it,  to  put  the  mind 
in  a  state  similar  to  that  of  a  singer.  Yet  in  so  doing,  we  must 
be  careful  not  to  fall  into  what  is  called  a  tone;  the  natural  in- 
tonation of  speech  must  be  carefully  preserved. 

In  sentimental  delivery,  the  vowels  occupy  a  larger  portion 
of  the  slide  than  in  the  preceding  styles.  Take  such  a  syllable 
as  old:  the  /  and  d  will  be  less  dwelt  upon,  and  enunciated  with 
less  strength.  Sometimes,  in  the  most  interesting  recitation  of 
lyric  poetry,  the  approximation  to  vocal  music,  in  this  respect, 
is  very  close.  The  vanishing  movement  also  is  executed  in  a 
more  clear  and  musical  quality  of  voice,  and  with  less  obscurity 
and  huskiness  of  sound. 

The  previous  extracts  in  this  volume  which  require  this  style, 
but  with  different  degrees  of  warmth  and  animation,  are  on  pp. 
62,  113,  139,  142, 151, 158, 264, 265, 297, 298,  303, 310,  312, 
314,  319. 

The  two  following  passages  from  orations  at  Plymouth  and 
at  Bunker's  Hill,  are  glowing,  yet  not  impassioned. 

NEW    ENGLAND. 

/ 

The  hours  of  this  day       are  rapidly  flying, 

and  this  occasion      will  soon  be  passed. 

Neither  we,      nor  our   children, 

can  expect      to  behold   its  return. 

They      are  in  the   distant  regions  of  futurity, 


SIMPLE    SENTIMENT.  371 

\ 

they      exist  only  in  the   all   creating  power  of  God, 

/ 
who  shall  stand    here,      a  hundred   years  hence, 

to  trace,      through   us,      their  descent   from  the  Pilgrims, 

and  to   survey,      as  we   have  now  surveyed, 

the  progress  of  their  country,      during  the  lapse  of  a  century. 

We  would  anticipate      their  concurrence  with  us, 

in  our  sentiments    of  deep  regard     forour  common  ancestors. 

We  would  anticipate,      and  partake 

the  pleasure      with  which  they  will  then  recount 

the  steps  of  New   England's  advancement. 

On  the  morning   of  that  day  , 

although  it  will  not  disturb  us ,  in  our  repose, 

the  voice   of  acclamation  and  gratitude 

commencing  on  the  Rock  of  Plymouth, 

shall  be  transmitted      through  millions  of  the  sons  of  the  Pilgrims, 

till  it  lose   itself     in  the  murmurs  of  the  Pacific  seas. 

[our  places, 
We  would  leave,      for  the  consideration  of  those  who  shall  then  occupy 

some   proof 

that  we  hold  the  blessings  -  transmitted  from  our  fathers, 

\ 

in  just  estimation; 

some  proof     of  our  attachment  to  the  cause  of  good  government, 
and  of  civil  and  religious   liberty; 
some  proof  of  a  sincere  and  ardent  desire, 


372  EXPRESSION. 

/ 

to  promote  every  thing      which  may  enlarge   the  understandings, 

and   improve  the  hearts      of  men. 

And,  when,      from  the  long  distance  -  of  a  hundred  years, 

they  shall    look  back  -upon  us, 

they  shall  know,      at  least, 

that  we  possessed   affections, 

which,  running   backward, 

/  [our  happiness, 

and  warming  with  gratitude      forwhatour  ancestors  havedonefor 

\ 

run  forward   also      to  our  posterity , 

and   meet  them      with  cordial  salutation, 

ere   yet   they  have   arrived   on  the  shore  of  being. 

\ 
Advance,  then,      ye  future  generations! 

We  would  hail  you, 

as  you  rise,      in  your  long   succession, 

to  fill  the  places      which   we  now  fill, 

and  to  taste  the  blessings  of  existence, 

where  we   are  passing,      and  soon  shall  have  passed, 

our   own   human   duration. 

We  bid  you  welcome     to  this  pleasant  land  of  the  Fathers. 

We  bid  you  welcome 

[England, 
to  the  healthful   skies,      and  the  verdant  fields  of  New 

We  greet  your  accession 

to  the   great   inheritance      which  we  have  enjoyed. 

[liberty. 
We  welcome  you      to  the  blessings  of  good  government,      and  religious 

/ 

We  welcome  you  to  the   treasures    of  science, 

/ 
and  the  delights  of  learning. 


SIMPLE     SENTIMENT. 


373 


N 

We  welcome  you  to  the  transcendent  sweets      of  domestic  life, 
to  the  happiness  of  ki  ndr  ed  ,      and  parents,      &nd  children, 
We  welcome  you  to  the  immeasurable   blessings 
of  rational   existence, 


the   immortal    hope  -  of  C hristianity , 
and  the  light  -  of  ev  erlasting  truth. 

THE  BUNKER'S  HILL  MONUMENT. 
Our   object,      in  erecting  this  monument, 
is  to  show  our   deep   sense 


WEBSTER. 


\ 


of  the  value  -  and  importance      of  the  achievements  of  our  ances- 

[tors; 
and  by  presenting  this  work  of  gratitude     to  the  eye, 

to  keep  alive  similar  sentiments, 

and  to  foster  a  similar  regard, 

to  the  principles  -  of  the    Revolution. 

Human  beings      are  composed      not  of  reason  only, 

\ 
but  of  imagination  also,      and  sentiment; 

\ 

and  that      is  neither  wasted      nor  misapplied, 

[sentiments, 
which  is  appropriated      to  the  purpose  of  giving  right  direction  -  to 

and  opening  proper  springs  of  feeling      in  the  heart. 
Let  it  not  be  supposed 

that  our  object      is  to  perpetuate  national  hostility, 

\ 

or  even  to  cherish      a  mere  military  spirit. 

\  \  \ 

It  is   higher,     purer,      nobler. 

We  consecrate  our  work      to  the  spirit   of  national   indepen- 

\  [dene e , 

and  we  wish      that  the   light  of  peace 

32* 


374 


EXPRESSION. 


may   rest   upon  it   forever. 

We   rearamemorial  / 

[conferred  on   our   land, 
of  our  conviction      of  the  unmeasured  benefit  -  which  has  been 

[events 
and  of  the  happy  influences      which  have  been  produced  by  the  same 

on  the   general  interests  of  mankind. 

We  come,      as   Americans, 

to   mark   a  spot 

which  must  be   forever   dear 

to   us,      and  our  posterity. 

We  wish      that  whosoever,      in   all   coming  time, 

/ 

shall   turn    his   eyes  hither , 

may  behold      that  the  place  is  not  undistinguished, 

where  the  first  great  battle  of  the  Revolution      was  fought. 

We  wish      that   this   structure 

may  proclaim  the   magnitude  -  and  importance      of  that  event, 

to   every   class      and   every   age. 

/ 

We  wish  that  infancy 

/ 
may  learn  the  purpose  of  its  erection      from  maternal   lips, 

\ 

and  that  weary  and  withered  age 

may  behold  it, 

and  be   solaced      by  the  recollections  which  it  suggests. 

/ 

We  wish  that   labor      may  look  up  here, 

and  be  p  r  o  u  d,      in  the  midst  of  its  toil. 

\ 

We  wish      that,  in  those  days  of  d  is  aster,  / 

[upon  us,  also, 
which,      as  they  come  upon  all  nations,      must  be  expected  to  come 

\ 
desponding  patriotism 


SIMPLE     SENTIMENT.  375 

may   turn   its   eyes   hither 

and  be  assured      that  the  foundations  of  our  national  power 

still  stand  str ong . 

We  wish  that  this  column 

[pies  dedicated  to  God, 

rising  towards   heaven      amid  the  pointed  spires  of  so  many  fern- 
may  contribute  also  to  produce, 
in   all   minds, 

a  pious  feeling      of  dependence  -  and  gratitude. 
We  wish,      finally, 
that  the   last   object 

on  the  sight  of  him  who  leaves  his  native  shore, 
and  the   first      to  gladden  him  who  revisits  it, 
may  be  something 

which  shall  remind  him     of  the  liberty  and  glory  -  of  his  country. 
Let  it   rise, 

till  it  meet   the  sun      in  his  coming ;\ 

/ 

let  the   earliest   light  -  of  morning      gild  it, 

and  parting   day 

linger      and   play      on  its   summit. 

WEBSTER. 

Calm  philosophical  eloquence  often  requires  this  style,  as  in 
the  following  extract  from  the  New  York  translation  of  Hum- 
boldt's  Cosmos.  The  delivery  must  proceed  with  absolute 
calmness  and  repose. 

EARTHQUAKES. 

Before  we  quit  the  phenomena  -  of  earthquakes, 

[and  quite   peculiar  impression, 
we  must  advert  to  the  cause      of  that  indescribable,      deep, 


376  EXPRESSION, 

made  upon  us      by  the  first  earthquake  we  experience, 
even  when  it  is  accompanied  -  by  no  subterraneous  noise. 
The  impression  -  does  not,      we  believe, 

result  from  any  recollection      of  destructive  catastrophes 

/ 
presented  to  our  imagination      by  narratives  of  historical  events  ; 

what  seizes  upon  us  so  wonderfully, 

is  the   disabuse  •  of  that   innate   faith 

[the   earth, 
in  the   fixity  -  of  the   solid   and   sure-set  foundations   of 

From  early  childhood, 

[water, 
we  are  habituated       to  the  contrast  -  between  the   mobile   element  - 

and  the  immobility  -  of  the  soil  on  which  we  stand. 

All  the  evidences  -  of  our  senses 

have  confirmed  this  belief. 

But  when  suddenly      the  ground  begins  to  rock  beneath,  us, 

the  feeling  arises  in  the  mind, 

of  an  unknown,-  mysterious   power,      in  nature, 

coming  into  action,      and  shaking  the  solid  globe. 

[ted  in  an  instant. 
The   illusion  of  the  w  h  ole  of  our   earlier   life      is  annihila- 

\ 

We  are   undeceived      as  to  the    repose   of  nature; 

[empire, 
we  feel  ourselves      transported  to  the  realm,      and  made  subject  to  the 

of  destructive      unknown   powers. 

Every   sound , — 

the   slightest   rustle      in  the  air, 

sets  attention      on  the  stretch. 

We  no  longer      trust  the   earth  -  on  which  we  stand. 

The  unusual  -  in  the  phenomenon 


PATHETIC    SENTIMENT.  377 

throws  the  same  anxious  unrest  and  alarm      over  the  lower  animals. 

\ 

Swine  and  dogs      are  particularly  affected  by  it ; 

and  the  very  crocodiles      of  the  Orinoco, 
otherwise      as  dumb  -  as  our  little  lizards, 
leave  -  the   shaken    bed   of  the   stream, 

and   run   bellowing-  into  the  woods. 

\/ 
To   man  , 

[ite  d   so  me  thi  n  g. 
the  earthquake  presents  itself     as  an   all-pervading  -  unlim- 

\  / 

We  can  remove      from  an  active  crater  ; 

from  the  stream  of  lava,  -  that  is  pouring  down  upon  our  dwelling, 

\ 

we  can  escape; 

\/ 
but  with  the  earthquake, 

we  feel,      that,  whithersoever  we  fly, 

we  are  still      over  the   hearth  of  destruction. 

HlJMBOLDT. 

1.  a.   UNIMPASSIONED  PATHETIC  SENTIMENT. 

The  ordinary  slide  on  syllables  that  have  no  marked  inflex- 
ion, extends  through  the  interval  of  a  musical  tone. 

Pathetic  expression  is  given  by  the  slide  through  a 
semitone. 

In  aiming  to  execute  this  slide,  we  must  not  attempt 
to  proceed  by  means  of  a  musical  ear,  but  must  simply 
take  on  a  pathetic  expression  of  voice. 

Neither  in  so  doing  should  we  indulge  ourselves  in  any  ap- 
proximation to  a  whine ;  or  employ  for  the  purpose  a  high  pitch ; 


378  EXPRESSION. 

or  exclusively  use  rising  inflexions.  Some  authors  have  given 
directions  to  this  effect,  which  are  very  erroneous.  Let  the 
student,  who  is  curious  in  such  matters,  consult  Dr.  Rush,  or 
Prof.  Day. 

The  true  pathetic  not  being  very  often  required  in  practical 
speaking,  and  being  also  easy  to  exhibit,  a  single  short  extract 
will  be  sufficient.  We  mark  the  emphases  with  reference  to 
the  course  of  thought  and  the  appeals  to  the  imagination,  and 
not  to  indicate  a  higher  degree  of  pathos.  The  expression  must 
be  diffused  over  the  whole. 

OX   THE    DEATH    OP   HAMILTON. 

5  a  d  ,    my  fellow  citizens, 

are  the   recollections      and   forebodings, 
which  the  present  solemnities 
force  upon  the  mind. 
Five  years      have  not  elapsed, 

since  your  tears     flowed  for  the  Father  of  your  country, 
and  you  are   again  assembled, 

to  shed  them  over  her   eldest   Son. 

The   urn      which  bore  the  ashes  of  Washington, 
la  followed 

by  the  urn      which  bears  the  ashes  of  Ha  milt  on. 

DR.  MASOX. 

2.  IMPASSIONED  SENTIMENT. 

In  the  preceding  style  of  simple  or  unimpassioned  sentiment, 
the  speaker  yields  himself  passively  to  spontaneous  impulses. 
He  is  borne  on  by  a  current,  while  his  audience  are  carried  along 
by  sympathy — which,  however,  is  not  so  much  with  the  speaker, 
as  with  ideas  which  interest  both  alike. 


IMPASSIONED    SENTIMENT.  379 

In  Impassioned  Sentiment,  the  speaker  is  either  actuated  by 
some  one  of  the  emotions  or  passions,  which  are  common  to 
men,  and  have  their  specific  names  in  every  language,  or,  as  in 
the  case  of  Impassioned  Affirmation,  he  feels  an  excited  and 
intense  earnestness,  which  is  of  the  nature  of  passion. 

This  impassioned  earnestness  produces  an  internal  activity 
and  energy  of  mind  and  body.  In  the  affirmative  class  of  styles, 
the  impassioned  energy  seems  external  (objective,)  and  resem- 
bles that  of  some  bodily  labor  or  exercise,  such  as  fencing,  me- 
chanical employments,  and  athletic  sports.  But  in  the  styles  of 
sentiment,  the  body  may  be  outwardly  calm  (except  in  the  ex- 
pression of  the  countenance,)  while  a  vehement  state  of  emo- 
tion exists  within,  and  produces  impassioned  tones,  by  an  ex- 
cessive and  exhausting  internal  effort  of  the  vocal  and  respira- 
tory organs. 

Although,  as  has  just  been  mentioned,  various  definite  emo- 
tions may  occur  in  this  style  of  delivery,  yet  even  these  have,  in 
addition  to  the  natural  tones  and  gestures  by  which  they  are 
expressed,  a  general  enforcement  given  them  by  means  of  the 
prevailing  tone  of  impassioned  earnestness  of  sentiment. 

This  tone  is  the  vanishing  stress  on  each  syllable. 

It  is  exactly  the  reverse  of  the  radical  stress;  the  syllable 
commences  with  a  feeble  and  almost  imperceptible  sound,  and 
rapidly  increases  in  force  to  the  end,  at  which  it  leaves  off  ab- 
ruptly. The  extreme  termination  of  the  slide  is  its  loudest  part. 

The  bodily  exertion  by  which  this  is  effected,  is  that  of  a 
strong  action  of  the  breast  and  of  the  internal  muscles  of  respi- 
ration and  voice.  In  the  most  vehement  efforts,  the  action  is 
violent  and  even  convulsive.  It  is  always  accompanied  by  a 
decided  sensation  at  the  bottom  of  the  breast  and  pit  of  the 
stomach,  of  a  strong  effort  to  express  deep  inward  feeling. 
Though  the  sensation  is  not  ordinarily  noticed,  yet  it  is  recog- 
nized by  every  one  whose  attention  is  turned  to  it.  When  great 
and  prolonged  strength  of  voice  is  employed  by  a  person  speaking 


380  EXPRESSION. 

in  this  style,  the  external  muscles  below  the  pit  of  the  "stomach 
are  brought  into  forcible  action,  so  as  to  flatten  the  body  in  front ; 
they  thus  assist  in  expelling  the  breath,  and  in  keeping  the 
chest  full  while  the  vocal  organs  are  making  a  powerful  effort 
on  the  termination  of  the  syllable.  From  these  physiological 
facts  originate  certain  descriptive  words  and  phrases  of  lan- 
guage, such  as  deep,  or  profound  earnestness,  deep  emotion, 
yearning  sympathy,  and  others. 

The  tone  we  are  now  considering,  is  not  only  the  prevailing 
one  of  dramatic  elocution,  but  is  one  of  the  most  common  that 
we  hear  in  every  day  life  ;  meeting  us  whenever  emotion  is  ex- 
pressed in  conversation.  The  sobbing  enunciation  of  words 
which  we  hear  from  a  child  weeping  wilh  indignation  and  an- 
ger, consists  of  the  highest  decree  of  the  vanishing  stress,  on 
the  slide  of  the  semitone.  We  say  the  highest  degree  :  for  in 
the  conversation  of  those  who  are  less  excited,  different  degrees 
are  exhibited  according  to  the  amount  of  excitement. 

When  large  rooms  are  to  be  filled,  and  when  serious  earnest- 
ness, and  strenuous  efforts  to  influence  an  audience,  are  called 
for,  the  long  continued  use  of  this  tone  is  in  the  highest  degree 
exhausting  to  the  speaker.  No  skill  in  speaking,  nor  judgment 
in  managing  the  breath,  can  wholly  prevent  such  an  effect.  It 
is  the  instinctive  and  necessary  employment  of  impassioned  sen- 
timent, which  breaks  down  the  health  of  those  clergymen,  who 
fulfil  the  precept  of  Horace : 

"  Si  vis  me  flere,  dolendura  est  ipsi  tibi." 
If  you  wish  me  to  feel,  first  feel  yourself. 

It  was  this  physical  and  mental  effort,  which  made  Mrs.  Jordan, 
a  celebrated  tragic  actress,  frequently  vomit  after  leaving  the 
scenes,  and  which  caused  Whitefield  sometimes  to  vomit  blood 
after  preaching.  A  protracted  continuance  of  it  produces  a 
sensation  of  sinking  and  distress  at  the  stomach,  which  often 
destroys  the  appetite  for  a  time,  and  makes  the  stomach  revolt 


IMPASSIONED     SENTIMENT.  381 

at  food.  Yet  let  no  one  hope  to  be  able  to  move  the  feelings  of 
an  audience  without  employing  it :  for  it  is  the  sole  provision  of 
nature  for  that  purpose.  The  only  remedy  for  exhaustion  or 
impaired  health,  thus  produced,  is  simply  rest. 

The  previous  extracts  which  require  this  style  are  at  pp.  124, 
144,  145,  146,  154,  167,  168,  213,  218  (at  the  bottom,)  286, 
291,314,319,322,327. 

All  the  extracts  however,  in  the  first  and  second  parts 
of  this  volume,  which  we  have  referred  to  under  the 
head  of  Impassioned  Affirmation,  may  without  impro- 
priety, be  spoken  in  the  style  we  are  now  considering. 

It  depends  on  the  speaker's  personal  character,  and  on 
the  circumstances  in  which  he  is  placed,  whether  it  is 
most  proper  to  appeal  primarily  to  the  understandings, 
or  to  the  feelings  of  those  whom  he  addresses. 

Having  furnished  an  example  of  the  triumphant  energy  of 
Demosthenes  in  Impassioned  Affirmation,  it  will  be  interesting 
to  see  exemplified  his  power  in  Impassioned  Sentiment. 

FROM    DEMOSTHENES. 

\  [nians, 

There  are  two  distinguishing  qualities,      Athe- 

\ 
which  the  virtuous  citizen      should   ever   possess; 

/ 
a   z  e  a  1  -  for  the  honor  and  preeminence  of  the   state; 

/ 
in  his  official  conduct, 

and,      on  all  occasions  -  and  in  all  transactions, 

\ 
an   affe  c  ti  o  n  -  for  his   country. 

This 

\ 

nature      can  bestow. 

33 


382  EXPRESSION. 

XX 

Abilities       and  success 

\ 
depend  upon  another  power. 

and  in  this  affection, 
you  find  m  e 

fi  r  m  and  inv  ar  table. 

\ 
Not      the   solemn  demand  of  my  person, 

\ 

nor  the   vengeance    of   the    Amphictyonic   council, 
[which  they  denounced  against  me, 

\ 
nor  the  terror  of  their  threatenings, 

\ 
nor  the  flattery  of  their  promises,    \/ 

[roused  like  wild  beasts  against  me, 
n  o ,      nor  the  f  u  r  y  of  those  accursed  wretches  -  whom  they 

could   ever      tear    this  affection  from  my  breast. 

\ 
From  first      to  last , 

I  have  uniformly  pursued 

the  j  u  s  t  -  and  virtuous  -  course  of  conduct  ;\ 

/ 
asserter  of  the  honors , 

/ 
of  the  prerogatives, 

of  the  g  I  o  r  y      of  my  country.  \ 

/ 
Studious  -  to  support   them, 

/ 
zealous  -  to  advance  them, 

\ 
my  whole   being 


IMPASSIONED    SENTIMENT.  383 

is  devoted  to  this  glorious  cause.  \ 


was  nev  er  known  / 

[  t  i  o  n  -  at  the  success  of  a  fo  reign  power; 
to  march  through  the  city      with  a  face  of  j  o  y  and  e  x  u  1  1  a  - 

embracing,      and   announcing  the  joyful  tidings, 

/ 

to  those  who  I  supposed  would  transmit  it  to  the  proper  place. 

[country, 
I      was  never  known      to  receive  the  successes  of  my  own 

\ 
with   tremblings; 

\ 
with   sigh  ings; 

\ 
with  eyes      bending  to  the  earth, 

\ 
like  those  impious  men     who  are  the  d  e  f  a  m  e  r  s  of  the  state, 

as  IF,      by  such  conduct, 

/\ 
they  were  not      d  e  f  a  m  e  r  s  of  t  h  e  m  s  e  I  v  e  s  : 

/ 
who  look  abroad, 

/ 
and  when  a  fo  reign  potentate 

has  established  his  power  on  the  calamities  of  Greece, 

\ 
applaud  -  the  event  ; 

\ 
and  tell  us     we  should  take  every  means  to  perpetuate  his  power. 

\ 
Hear   me,      ye  immortal  gods! 

\ 
and  le  t  not  -  these  their  desires    be  rat  ifi  ed  in  heaven! 

\ 
Infuse  a  better   spirit       into  these  men  ! 

\ 
Inspire      even  their  minds      with  purer  sentiments! 


384  EXPRESSION. 

\ 

This      is  my  fi r  s  t  prayer. 

Or, 

/ 
if  their  natures      are   not  to  be  reformed, 

\ 

ON    THEM, 

\ 
OH    THEM    ONLY, 

\ 

discharge  your  vengeance! 

\ 
Pursue   them      both  by   land  and  sea! 

\ 
Pursue  them      even  to  destruction! 

But,      to  us,  / 

[from  impending  evils, 

display  your  goodness,     ina  speedy  deliverance 

[quillit  y . 
and    a  1 1   the   blessings       of  protection   and   tr an- 

As  the  voice  of  criticism  has,  in  every  age,  pronounced  the 
orations  of  Demosthenes  to  be  unapproached  in  power  by  any 
subsequent  compositions,  we  add  another  extract  from  his  fa- 
mous defense.  Our  limited  space,  however,  compels  us  to  place 
in  immediate  succession,  two  passages  which  are  separated  in 
the  oration  by  a  long  one  even  superior  in  power  to  that  which 
precedes  it.  The  conclusion  is  considered  a  more  sublime  ap- 
peal than  is  to  be  found  in  any  other  uninspired  address. 

But,      Athenians, 

\/ 
since  Aeschines       has  insisted  so  much  -  upon  the  EVENT, 

I  shall  hazard      a  bold  assertion. 

I   s  a  y ,   then, 

\ 
that,      had  we   all  KNOWN 


IMPASSIONED     SENTIMENT.  385 

what  fortune  was  to  attend  our  efforts  ;\ 

\  \ 

had  we  all      fo  reseen      the  fi  nal  issue: 

\ 
had  y  ou  for  eto  Id  it,       Aeschines, 

\ 
(you,  whose  voice  was  never  heard,) 

\ 
yet,      even  in  SUCH   a  case, 


must  this  city  have  pursued  the  very  same   conduct, 

\ 
if  she  had  retained  -  a  thought, 

\/ 

of  glory  , 

/ 
of  her   ancestors, 

\ 
0  r  >   °f  posterity. 

[army, 

If  Philip     had  been  chosen  general  of  the  Grecian 

/  [insidious  nomination, 

and  some  OTHER  state      had  drawn  the  sword  against  this 

/ 
and  fought  the  battle      unassisted  by  the  Athenians, 

that  people       who,  in  ancient  times, 

\  / 

never      preferred  inglorious  security  to  honorable  danger, 

\ 
who  would  not  have  spurned  you  with  scorn? 

\ 
But      it  cannot  BE! 

\ 
No!      my  countrymen! 

\ 
it  cannot  BE,  \ 

[for  the  liberty  and  safety  of  all  Greece. 
that  you  have  acted  wrong,      in  encountering  danger  bravely  - 

No! 

33* 


« 

386  EXPRESSION. 

\ 

[were  exposed  at  Marathon! 
By  those  generous  souls  of  ancient  times  -  who 

By   those       who  stood  arrayed  at  P la t <z  a ! 

by  those  who  encountered  the  P  e  r  s  i  a  n  fl  e  e  t     at  S  A  L  A  - 
\  [MIS! 

who  fought  at  Artemisium! 

\  / 

By  A  L  L      those  illustrious  sons  of  Athens, 

\ 

whose  remains     lie  deposited  -  in  the  public  mon- 
\  [ument  s! 

all  of  whom  \ 

[country! 
received  the  same  honorable  interment  -from  their 

/ 
NOT 

/\ 

those  only       who   PREVAILED, 

/ 

NOT 

/\ 

those  only       who  were   VICTORIOUS. 

\ 
And   with  reason. 

What  was  the  part  of  gallant  men, 

\ 
they   all  performed. 

'       \/ 
Their  SUCCESS 

\ 
was  such  as  the  Supreme   Director  of  the    World 

dispensed  to  each. 

2.  a.   IMPASSIONED  PATHETIC  SENTIMENT. 

This  is  distinguished  merely  by  the  slide  of  the  semi- 
tone. 


IMPASSIONED    PATHETIC    SENTIMENT.        387 

Passages  requiring  it,  abound  in  the  drama,  and  in  novels. 
Being  of  unfrequent  occurrence  in  oratory,  even  in  that  of  the 
pulpit,  a  short  extract  will  suffice  for  practical  illustration. 

The  following  certainly  requires  a  pathetic  delivery ;  but  the 
pathos  must  be  that  of  a  man,  and  the  key  of  the  voice  a 
deep  and  even  rough  bass.  The  whining  pathetic,  which  is 
sometimes  assumed  by  those  who  affect  an  interesting  style  of 
speaking,  will  be  ludicrous  when  applied  to  the  masterly  elo- 
quence of  Cicero,  who  was  not  only  an  orator,  but  a  command- 
ing statesman. 

CICERO   AGAINST    VERRES. 

It  was  in  vain      that  the  unhappy  man      cried   out, 

\ 
" / am  a  Roman   citizen; 

\ 
"  I  have  served  under  Lucius  P  retius  , 

\ 

"  who  is  now  atPanormus,     and  will  at  test  my  inno- 

[cence." 
The   bloodthirsty  Praetor, 

DEAF      to  a  1 1  that  he  could  urge  in  his  own  defense, 
orders  the  infamous  punishment      to  be  inflicted. 
Thus,      Fathers,      was  an   innocent  Roman  citizen 

publicly   mangled  with   scourging; 

[suffer  ings, 
whilst  the   only   words   he  uttered,      amidst  his   cruel 

were,       "  /  am  a  Roman   citizen!" 

With-  these , 

/\  [famy. 

he  hoped  to  DEFEND  himself!      from  violence  and  i  n- 

/ 
But  of  s  o  little  service  -  was  this  privilege  to  him, 


388  EXPRESSION. 

/  [ship, 

that  while  he  was  thus  asserting  his  privilege  of  citizen- 

\ 
the  order  was  given      for  his   EXECUTION! 

for  his  execution-  upon  the  CROSS! 

\ 
O  LIBERTY! 

O  sound      once  -DELIGHTFUL  to  every  Roman  ear ! \ 

O  SACRED  privilege  -  o/*  ROM  AN  CITIZENSHIP!\ 

/ 
ONCE   sacred, 

\ 

HOtff        TRAMPLED    Upon  ! 

3.  HORTATORY  SENTIMENT. 

This  requires  the  highest  excitement,  and  the  most 
vehement  exertion  that  can  be  employed  in  speaking. 

At  the  present  day  it  is  almost  never  heard,  except  from  fa- 
natics and  ignorant  enthusiasts.  Those  who  write  what  de- 
mands a  true  hortatory  sympathy  in  delivery,  generally  shrink 
from  the  fearless,  and  yet  manly,  abandonment,  without  which 
the  genuine  tones  of  exhortation  cannot  be  given.  A  student 
of  elocution  will  never  succeed  in  exhibiting  this  and  some  oth- 
ers of  the  most  powerful  tones,  by  merely  imitating  a  model. 
The  vocal  organs  refuse  to  obey  the  commands  of  mimicry,  or 
of  cold  hypocrisy,  in  respect  to  the  genuine  language  of  strong 
personal  emotion.  We  cannot  learn  to  exhibit  such  tones  at 
will,  except  by  disciplining  the  imagination,  until  we  become 
able  to  put  ourselves  into  the  actual  state  of  feeling  from  which 
they  result. 

In  exhortation,  as  in  contentious  affirmation,  the  speaker  ex- 
erts himself  to  the  utmost  to  influence  others. 

For  this  purpose,  he  intentionally  enforces  and  strength- 
ens the  exhibition  of  his  internal  emotion. 


HORTATORY  SENTIMENT.  389 

Whereas  in  the  most  powerful  of  the  affirmative  styles,  he 
compels  the  attention  of  his  hearers,  and  forces  them  to  think 
and  reason  with  him,  in  this,  he  compels  them  to  sympathize 
with  him  in  his  feelings. 

Strong  internal  emotion  being  in  itself  exhausting,  and  being 
much  more  so,  when  the  speaker  superadds  a  vehement 
strengthening  of  its  exhibition,  this  is  the  most  fatiguing  of  all 
styles  of  addressing  an  audience.  Genuine  and  powerful  ex- 
hortation, however,  is  never  appropriate  or  useful  for  very  long 
at  a  time. 

The  tone  of  exhortation  is  produced  by  the  thorough 
stress }  increasing  in  force  to  the  end  of  the  syllable. 

The  thorough  stress  is  an  increased  force  throughout 
the  whole  extent  of  the  slide. 

In  other  forms  of  stress,  there  is  a  relaxation  of  the  vocal 
muscles,  and  a  corresponding  dullness,  or  tendency  to  huskiness 
of  sound,  on  some  part  of  the  slide.  There  are  one  or  two 
other  varieties  of  the  thorough  stress  besides  the  hortatory ;  this 
being  characterized,  as  just  mentioned,  by  a  greater  energy  at 
the  end  than  at  the  beginning  of  the  syllable. 

In  parts  first  and  second,  the  extracts  at  pp.  70  and  140,  are 
specimens  of  hortatory  composition,  and  admit  of  the  style  of 
address  now  under  consideration. 

The  following  extract  is  from  the  same  harangue  by  Mira- 
beau,  from  which  we  selected  a  passage  to  illustrate  the  strong- 
est of  the  affirmative  styles,  vide  p.  364.  It  is  a  peroration,  in 
the  form  of  an  overpowering  appeal  to  the  imagination  and 
feelings. 

\ 
This,  then,    is  the  point  to  which  you  are  advancing. 

\ 
I  hear  much  said      of  patriotism! 

\ 
appeals  to  patriotism! 


390  EXPRESSION. 

\ 

transports!       of  patriotism. 

Gentlemen, 

\ 
why    prostitute      this  noble  word ? 

Is  it  so  very   magnanimous, 

/ 
lo  give  up  a  p  a  r  t  -  of  your  income, 

/ 
in  order  to  save  -  your  whole  property? 

\ 
This       is  simple  arithmetic! 

/ 
and  he  that  hesit  at  e  s  t 

\ 
deserves  contempt!       rather  than  indignation. 

I   exhort  you,  then,      most   earnestly, 

\ 
to  v  o  t  e  -  these  extraordinary  supplies. 

\ 
VOTE   them, 

\ 
I  beseech   you ; 

\ 
vote   them   at  ONCE; 

\ 
for  the  crisis      does  not  admit  of  delay  ! 

/ 
and  if  it  occurs, 

\ 
w  e      must  be  responsible  for  the  consequences! 

\ 

Bankruptcy! 
\ 
NATIONAL  BANKRUPTCY      is  before  you. 

It  threatens  to  swallow  up 

\ 
your  p  e  r  s  o  n  s ,      your  property,      your  honor! 

\ 
and  yet      you  deliberate! 

MlRABEAU. 


HORTATORY  PATHETIC  SENTIMENT.    391 

3.  a.  HORTATORY  PATHETIC  SENTIMENT. 

In  this  style,  the  slide  is  the  semitone  j  the  stress  be- 
ing the  same  as  in  the  preceding. 

Our  extract  is  from  Adherbal's  appeal  to  the  Roman  Senate, 
against  Jugurtha. 

/ 
Fathers! 

/ 
Senators  of  Rome, 

/ 
the   arbiters  of  the   world! 

\/ 
To  you      I   fly 

for  refuge     from  the  murder  ous  fur  y  of  Jugurtha. 

\ 
By  your  affection      for  your  children; 

\ 
by  your  /  o  v  e  for  your  country; 

\ 
by  your  own  virtues; 

by  the  majesty  -  of  the  Roman   Commonwealth; 

by  a II  that  is  sacred,      and  all  that  is  dear  to  you ; 

deliver 

/ 
a  wretched  prince 

\ 
from   undeserved,      unprovoked  injury; 

and  save      the  kingdom  of  Numidia, 

/ 
which  is  your  own  property, 

from  being  the  prey 

/ 
of  violence, 


392  EXPRESSION. 

/ 

usurpation, 

and   cruelty. 

SALLUST. 

The  translation  just  given,  seems  to  have  been  made  by  the 
author  of  "  The  Art  of  Speaking,"  who  was  head  master  of 
one  of  the  great  English  schools,  about  the  middle  of  the  last 
century.  Though  admirable,  it  makes  no  pretence  to  being 
literal.  We  therefore  subjoin  the  original,  and  a  translation 
which  aims  to  be  close.  We  sometimes  also  substitute  simple 
rising  for  emphatic  falling  inflexions,  in  accordance  with  what 
we  conceive  to  have  been  characteristic  of  ancient  elocution. 

/ 
Patres   conscript! , 

/ 
per  v  o  s ,      per  /  i  b  e  r  o  s ,      atque  p  ar  ent  es , 

/ 
per  majestatem  P opuli   R  o mani , 

subv  en  it  e  mis  er  o  mihi;\ 

it  e  obvi  am  inj  uri  ee;\ 

/ 
no  lite  pati      regnum  Numidia, 

quod  v estrum  est, 

perscelus      et  sanguinem      familiae  nostrae, 

t  ab  es  c  er  e. 

SALL.  Jug.  c.  xiv.  ad  fin. 

/ 
Conscript  Fathers,  / 

[parents, 
by  y  our  selves,      by  yourcJrildren,      and  by  your 

/ 
by  the  grandeur  of  the  Roman  nation, 


MIXED     STYLES.  393 

grant  me   aid  in  my   wretchedness  ;\ 

interpose   against  wrong;\ 

/ 
suffer  not      the   kingdom  of  Nu  m  i  di  «, 

\/ 

of  which  you   are  the  owners, 

through  the  crimes    and  the  bloo  dy  de  aths    ofourfamily 
to  waste  a  to  ay      and  be  destroyed. 

MIXED    STYLES. 

A  passage  is  occasionally  met  with,  which  seems  to  require  a 
union  of  explanation  and  sentiment.  Since  a  waving  slide  on 
each  syllable  gives  a  tone  of  explaining  thought,  and  the  van- 
ishing stress  expresses  Impassioned  Sentiment,  the  union  of 
both  will  present  a  style  in  which  ideas  are  explained  to  the 
understanding,  and  also  urged  by  an  impassioned  earnestness 
of  appeal.  This  we  conceive  to  be  the  true  description  of  the 
tone  actually  heard  in  an  appropriate  delivery  of  the  powerful 
extract  at  p.  245.  We  may  therefore  call  its  style  a  union  of 
Argument  with  Impassioned  Sentiment. 

By  a  similar  enforcement  of  the  wave  by  thorough  stress,  the 
Hortatory  may  be  made  Explanatory.  We  shall  perhaps  thus 
have  the  most  overpowering  mode  of  exhibiting  our  last  extract 
from  Mirabeau,  p.  389. 

But  not  only  may  Impassioned  and  Hortatory  Sentiment  be 
united  with  the  explanatory  tone ;  the  same  is  also  true  of  Sim- 
ple Sentiment.  Thus  each  of  the  three  styles  of  sentiment  may 
be  compounded  with  explanation. 

But  in  addition  to  this  number  of  mixed  styles,  there  would 
seem  to  be  no  incompatibility  in  a  union  of  a  wave  of  the  semi- 
tone with  each  of  the  forms  of  stress  which  characterize  the 
three  primary  styles  of  sentiment.  If  this  be  so,  then  the  six 
sentimental  styles  may  each  be  of  two  kinds,  according  as  they 

34 


394  EXPRESSION. 

are  explanatory  or  not.  Examples  of  all  these  varieties  might 
probably  be  found  in  the  drama.  When  we  mentioned,  some 
pages  back,  that  the  mixed  styles  are  few,  it  might  have  been 
more  correct  to  say  that  they  are  of  infrequent  occurrence. 

The  following  extract  appears  to  demand  a  tone  of  explana- 
tion, and  also  to  require  to  be  presented  in  manner  of  a  simple 
appeal,  i.  e.  in  the  tone  of  Unimpassioned  Sentiment.  Its  style 
will  thus  be  a 'union  of  Explanation  and  Simple  Sentiment.  It 
admits  likewise  of  being  delivered  with  the  stronger  enforce- 
ment of  Impassioned  Sentiment.  Argument  presented  as  in 
this  passage,  is  generally  accompanied  by  exhibitions  of  wonder 
and  surprise,  which  may  be  either  calm  or  impassioned.  The 
passage  is  a  continuation  of  the  extract  on  p.  278. 

My  worthy  colleague  says, 

\ 
his  will      ought  to  be  subservient  -  to  yours. 

/ 
If  that  be  all, 

\ 
the  thinff  is  innocent. 

\/ 
If  government      were  a  matter  of  will,  -  upon  any  side, 

\ 

yours,      without  question, 

\ 
ought  to  be  superior. 

But  government  and  legislation 

\ 

are  matters  of  reason, 

\ 

and  judgment, 

/ 
and  not  of  inclination ; 

/ 
and  what  sort  of  reason  -  is  that, 

\ 
in  which  the  determination      precedes  the  discussion ; 


CONVICTION.  395 

in  which  one  set  of  men      deliberate, 

\ 
and  another      decide ; 

/ 
and  where  those  who  form  the  conclusion, 

are  perhaps  three  hundred  miles  distant 

\ 
from  those  who  hear  the  argument. 

BURKE. 

CONVICTION. 

Finally,  there  is  a  peculiar  style  of  speaking  which  not  un- 
frequently  occurs  in  debate,  and  seems  to  demand  a  notice  be- 
fore leaving  the  subject  of  Expression. 

It  is  heard  when  a  debater  expresses  his  settled  con- 
victions ;  while  he  neither  appeals  to  the  assent  of  others, 
nor  even  endeavors  so  to  act  on  their  minds  as  to  make 
them  reason  along  with  himself. 

He  says,  by  his  manner,  "  This  is  the  truth ;  I  am  satisfied  in 
my  own  mind.  I  must  continue  to  hold  these  opinions,  whether 
you  agree  with  me  or  not."  The  tone  is  often  heard  when  a 
speaker  is  closing  a  debate,  or  summing  up  a  series  of  argu- 
ments. Too  strong  an  exhibition  of  it,  gives  the  manner  of 
dogmatism. 

This  peculiar  manner  seems  not  to  depend  on  either  of  the 
modes  of  stress.  It  appears  rather  to  be  an  instance  of  what  is 
called  by  Dr.  Rush,  the  "  drift  of  the  falling  third."  Falling 
inflexions  are  given  to  as  many  as  possible  of  the  emphatic 
words.  Their  number  therefore  becomes  uncommonly  great, 
and  characterizes  the  whole  delivery.  But  another  peculiarity 
is  equally  characteristic.  The  emphatic  falling  inflexions  do 
not  commence  on  so  high  a  pitch,  as  in  other  modes  of  present- 
ing argument.  Consequently,  the  voice  does  not  make  as  wide 
skips  in  pitch ;  its  whole  current  is  more  even,  and  approxi- 
mates to  a  monotone. 


396  EXPRESSION. 

The  following  extract  affords  a  good  exemplification. 

STANDING    ARMIES. 

\ 

Sir,      we  have  heard  a  great  deal      about  parliamentary  or- 
\  [mies, 

and  about  an  army  continued 

\ 
from  year  to  year. 

/ 
I  always  have  been,      Sir, 

\ 
and  always  shall  be, 

\ 
against 

a  standing  army,      of  any  kind. 

\ 
To  me      it  is  a  terrible  thing. 

/ 
Whether  under  that  of  parliamentary, 

\ 

or  any  other  designation, 

a  standing  army 

\ 
is  still      a  standing  army, 

\/  \ 

whatever  name      it  may  be  called  by. 

They  are  a  body  of  men 

\ 
distinct      from  the  body  of  the  people ; 

\ 
they  are  governed  by  different  laws; 

and  blind  obedience, 

\ 

and  an  entire  submission      to  the  orders  of  their  commanding  of- 
ficer, 

is  their  only  principle. 


TREMOR     OF    THE     VOICE 


397 


\ 

The  nations  around  us,      Sir, 

/ 
are  already  enslaved, 

and  they  have  been  enslaved 
by  these  very  means ; 

by  means  of  their  standing  armies, 

\ 
they  have  every  one      lost  their  liberties  : 

\ 
it  is,  indeed,  impossible, 

/ 
that  the  liberties  of  the  people     can  be  preserved  in  any  country, 

where  a  numerous  standing  army      is  kept  up. 

PULTNEY. 
THE    TREMOR   OF   THE    VOICE. 

When  the  nervous  and  muscular  systems  are  tasked  to  their 
utmost,  in  the  expression  of  sentiment  or  passion,  the  voice  is 
characterized  by  a  tremulous  tone.  This  tone  is  familiar  to 
every  one  from  the  exhibitions  of  it  which  so  often  occur  in 
common  life,  when  persons  are  actuated  by  strong  feelings  of 
joy  or  grief,  hope  or  fear,  anger  or  tender  sympathy,  and  by 
some  others  of  the  most  common  emotions. 

In  dramatic  elocution,  the  tremor  is  of  frequent  occurrence. 
Tt  may  be  required  in  farce,  or  in  comedy,  and  produces  some 
of  the  most  powerful  effects  in  tragedy. 

But  in  oratory,  it  is  rarely  indulged  in,  and  need  not  be  cul- 
tivated. It  is  well,  however,  for  a  student  of  elocution  to  be 
aware  of  its  existence  as  a  natural  exponent  of  emotion,  and 
sometimes  to  indulge  himself,  to  a  moderate  degree,  in  its  use. 
When  cultivating  the  utmost  depth  and  earnestness  of  expres- 
sion ;  when  his  emotion  gives  him  a  sensation  of  speaking  from 

34* 


398  EXPRESSION. 

the  lowest  depths  of  his  breast,  and  produces  a  convulsive  ac- 
tion of  that  part  of  his  frame;  he  will  find  his  voice  naturally 
incline  to  a  tremor  on  the  most  passionate  words.  A  slight 
degree  of  this  tremulousness  may  sometimes  be  indulged  in,  to 
increase  his  expressiveness. 

If,  however,  he  deliberately  makes  use  of  the  tremor,  so  that 
the  hearers  are  led  to  notice  the  fact  of  his  doing  so,  the  effect 
will  be  undesirable  in  any  delivery  which  is  intended  to  be 
useful. 

A  decided  tremor  results  in  fact,  from  bodily  weakness,  when 
the  speaker  is  under  the  influence  of  an  overmastering  feeling. 
Any  considerable  manifestation  of  weakness  is  injurious  to 
oratory.  The  hearers  commiserate  the  speaker,  instead  of  yield- 
ing themselves  up  to  his  influence. 

The  tremor,  like  the  semitone,  is  very  easy  to  execute  by 
those  who  cultivate  an  affectation  of  emotion,  instead  of  a  gen- 
uine eloquence,  and  is  therefore  liable  to  be  resorted  to;  by  those 
who  practise  what  may  be  called  tricks  in  delivery. 


399 


PART    IV. 


LESSONS  FOR   EXTRACTS    SELECTED   BY   THE 
STUDENT. 

As  Speaking  cannot  be  learned  without  considerable  prac- 
tice, it  is  essential  to  its  rapid  and  certain  acquisition,  that  the 
student  have  some  guide  for  the  modes  of  practice. 

The  following  course  of  lessons,  is  the  result  of  long  contin- 
ued efforts  to  discover  what  difficulties  a  student  of  elocution 
experiences,  when  endeavoring  to  prepare  himself  for  appearing 
successfully  before  an  audience. 

Each  lesson  has  been  tested  and  improved  by  the  experience 
of  successive  classes  in  college,  until  all  have  finally  been 
brought  into  the  form  in  which  they  are  now  presented.  It  has 
been  made  a  standing  rule,  to  reject  every  thing  from  them 
which  was  found  to  be  either  unnecessary,  difficult,  or  disagree- 
able ;  and  on  the  other  hand,  to  add  to  them  all  the  information, 
and  describe  every  mode  of  practice,  which  any  one,  whatever 
may  be  his  turn  of  character  in  reference  to  public  speaking,  may 
find  necessary  for  enabling  him  to  make  a  creditable  appearance. 
If  it  be  asked  what  has  been  taken  as  the  test  of  practical  suc- 
cess, we  answer,  a  consciousness  of  being  able  to  speak  with 
steadiness,  manliness  and  force;  and  if  not  with  a  decided 
gracefulness,  with  at  least  a  freedom  from  any  noticeable  awk- 
wardness, as  well  as  from  any  schoolboy  tone.  The  true  an- 
swer, however,  to  this  question,  is  found  in  the  lessons  them- 
selves, which  are  intended  to  present,  not  ideal,  but  practical 
and  attainable  standards.  No  lesson  or  direction  is  founded  on 
an  expectation  that  the  student  who  is  to  practise  it,  has  a  ge- 
nius fur  oratory,  or  is  even  engaged  in  the  study  of  that  branch 


400  LESSONS  FOR  EXTRACTS. 

of  the  liberal  arts.  Oratory  makes  use  of  Speaking,  in  the 
same  way  as  the  art  of  composition  makes  use  of  grammar. 

But  in  addition  to  the  advantages  for  practice  and  instruction 
which  this  plan  affords,  we  derive  the  benefit  of  a  convenient 
opportunity  for  explaining  many  points  in  reference  to  speak- 
ing, which  are  important  to  be  known,  but  which  if  discussed 
in  the  systematic  manner  of  the  preceding  parts  of  this  trea- 
tise, would  swell  the  volume  to  a  larger  bulk.  Though  less  sys- 
tematic and  perhaps  less  agreeable  for  the  general  reader,  the 
method  in  which  we  shall  introduce  such  miscellaneous  infor- 
mation, will  be  more  useful  to  the  practical  student. 

It  seems  best  to  give  full  directions  on  each  point,  although 
in  many  cases  some  ideas  in  the  first  part  of  the  volume  are, 
by  so  doing,  repeated. 


ESTABLISHED  CUSTOMS. 

The  following  are  the  most  important  of  the  customs,  in  re- 
gard to  practising  before  the  instructor,  which  have  gradually 
become  established  in  this  college,  as  convenient  and  useful. 

The  appointments  are  five  minutes  apart  for  each  student, 
and  in  alphabetical  order  of  names. 

As  it  is  impossible  for  every  one  to  be,  in  every  instance,  punc- 
tual to  a  minute,  and  accidental  interruptions  are  liable  to  oc- 
cur, the  students  are  in  the  habit  of  accommodating  each  oth- 
er, by  waiting,  if  necessary,  and  allowing  each  other  time  to 
speak  in  the  order  of  arrival.  When  it  is  particularly  inconve- 
nient for  one  to  wait,  his  classmate  yields  his  turn,  although  he 
may  have  corne  first.  No  difficulty  ever  occurs  between  stu- 
dents, from  want  of  a  spirit  of  mutual  accommodation. 

It  thus  happens,  that  very  often  the  student  who  is  practising 
has  a  classmate  present.  The  latter  generally  waits  in  a  part 


ESTABLISHED     CUSTOMS. 


401 


of  the  room  not  immediately  in  front  of  the  speaker;  as  it  is 
easier  and  better  to  imagine  an  audience  present,  than  to  at- 
tempt to  make  a  single  person  a  substitute  for  an  assembly. 
For  the  same  reason,  the  instructor  generally  remains  on  one 
side,  and  the  speaker  never  addresses  him  directly.  The  ex- 
amples likewise  that  are  set  by  the  instructor,  are  not  addressed 
to  him  who  is  practising,  but  to  an  imaginary  audience. 

Instruction  is  in  most  cases  given,  whilst  the  speaker's  deliv- 
ery is  in  full  flow.  It  thus  comes  at  the  precise  moment  when 
it  is  wanted.  The  principal  reliance  in  instruction,  is  placed, 
on  telling  the  speaker  not  when  he  is  wrong,  but  when  he  is 
right.  Simply  mentioning  faults,  is  rarely  of  any  service.  It 
is  intended  never  to  interrupt  or  make  a  criticism,  without  at 
the  same  time  giving  a  direction  that  shall  at  once  unfetter  the 
speaker  from  the  embarrassment  of  some  practical  difficulty 
which  he  is  at  the  time  experiencing,  in  regard  to  executing 
his  own  intentions. 

The  accidental  and  occasional  presence  of  a  classmate,  or  of 
one  of  the  especial  instructors  of  the  student's  own  class,  is  at- 
tended with  many  advantages.  It  gives  habits  of  steadiness 
and  self-possession,  without  which  none  can  practically  succeed 
in  public  delivery.  The  instructor  likewise  is  so  far  removed 
in  age  and  experience  from  the  student,  that  it  is  riot  so  easy  in 
many  cases  to  learn  directly  from  him,  as  indirectly  through 
the  success  of  a  classmate.  Every  example  of  truly  good  de- 
livery given  by  a  student  before  his  fellows,  has  a  powerful  in- 
fluence in  assisting  as  well  as  encouraging  them  to  do  the  same. 
On  this  account,  as  well  as  for  the  student's  own  sake,  great 
pains  are  taken,  not  to  suffer  any  one  to  speak  before  his  class, 
who  will  so  far  fail,  as  to  discourage  his  companions,  and  by 
his  faults  confuse  their  judgment  as  to  what  is  correct,  natural 
and  practicable. 


402  LESSONS  FOR  EXTRACTS. 


GENERAL   PLAN   OF   LESSONS. 

During  the  Sophomore  and  Junior  years,  each  student 
receives  private  instruction  for  one  week  of  each  term. 

He  practices  in  the  Chapel  once  a  day  for  five  days,  viz.  on 
Thursday  and  Friday,  and  on  Monday,  Tuesday,  and  the  morn- 
ing of  Wednesday.  He  then  declaims  before  his  class  on 
Wednesday  afternoon. 

On  each  day  of  practice  he  receives  a  distinct  lesson  on  some 
one  essential  point  of  delivery. 

These  five  lessons  have  reference  to  some  one  important 
style  of  delivery,  which  is  the  especial  object  of  study  during 
the  term. 

A  higher  style  of  delivery  is  cultivated  in  each  successive 
College  term,  and  each  term  has  its  peculiar  series  of  lessons. 

The  whole,  now  for  the  first  time  printed,  exhibits  the  mode 
of  preparing  for  public  speaking  which  has  been  for  several 
years  established  in  Yale  College. 

RULES    OF   PRACTICE. 

Experience  has  established  the  value  of  the  following  rules. 

RULE  I.  To  secure  the  greatest  improvement,  the  ex- 
tracts should  always  be  in  PROSE. 

The  public  recitation  of  poetry  is  a  separate  branch  of  elo- 
cution, and  presents  several  difficulties  which  are  not  provided 
for  in  these  lessons. 

Inexperienced  speakers  should  select  for  early  practice,  ex- 
tracts from  debates,  orations,  or  pleadings  of  lawyers.  These 
are  easiest  to  speak.  But  as  soon  as  some  skill  and  experience 
have  been  gained,  it  is  very  important  to  practise  on  extracts 
that  were  not  originally  written  to  be  spoken,  and  are  interest- 


GENERAL    PLAN.  403 

ing  solely  from  the  value  of  their  thoughts  and  the  beauty  of 
their  language. 

RULE  II.  The  extracts  should  be  selected  with  refer- 
ence to  the  value  and  interest  of  the  thoughts  which 
they  express. 

It  is  impossible  to  acquire  a  good  delivery,  by  practising  on 
extracts  weak  in  matter  and  bombastic  in  style. 

RULE  III.  The  extracts  should  never  be  more  than 
three,  and  often  not  more  than  two  minutes  in  length. 

Longer  compositions  must  be  studied  and  practised  in  sepa- 
rate portions.  Different  paragraphs  and  parts  of  complete  com- 
positions require  different  styles  of  delivery. 

The  higher  the  style  of  speaking  aimed  at,  the  shorter  must 
be  the  passage  to  be  spoken,  in  order  to  afford  an  opportunity 
for  the  fullest  possible  development  and  expansion  of  thought 
and  feeling  in  delivery.  Among  orators  of  high  reputation,  it 
will  be  found  that  the  higher  the  oratory,  the  fewer  are  the 
words  employed,  and  the  shorter  is  the  discourse. 

RULE  IV.  Each  series  of  five  lessons  must  be  practis- 
ed on  the  same  extract. 

RULE  V.  In  practising  with  an  instructor,  each  lesson 
should  be  on  a  separate  day. 

If  they  are  all  practised  in  succession  and  at  one  rehearsal, 
they  will  confer  comparatively  but  little  benefit. 

RULE  VI.  Each  lesson  should  be  mastered  in  a  short 
period  of  time. 

Earnest  effort,  with  the  assistance  of  an  instructor,  will  gen- 
erally secure  a  mastery  of  each  lesson  in  about  Jive  minutes. 
It  is  of  the  highest  importance  to  practise  vigorously  for  a  short 
time,  rather  thun  feebly  for  a  longer  period.  Unhesitating  and 
prompt  habits,  arid  the  ability  to  bring  one's  powers  instantly 
into  action,  are  essentially  necessary  in  public  speaking. 


404          LESSONS  FOR  EXTRACTS. 

No  student,  however,  will  do  himself  justice  in  speaking, 
without  considerable  private  practice.  Yet  even  this  ought  in 
most  cases  to  be  methodical — that  is,  with  the  definite  object  of 
acquiring  improved  habits  in  respect  to  some  particular  point 
in  delivery. 


SOPHOMORE  YEAR,  FIRST   TERM. 

STYLE  OF  DELIVERY  TO  BE  ACQUIRED. 

This  may  be  called  BUSINESS  SPEAKING. 
When  eloquently  exhibited,  the  eloquence   will  be 
that  of  natural  and  extemporaneous  earnestness. 

PRACTICAL  USES  OF  THIS  STYLE. 

To  command  respect  and  secure  attention.  The  lowest  de- 
gree of  a  good  delivery  secures  these  objects,  whatever  be  the 
time,  place  or  occasion.  Unless  by  his  delivery  a  person  can 
at  least  command  attention,  he  cannot  be  considered  as  quali- 
fied for  public  speaking  at  all. 

It  should  be  impossible  for  an  audience  to  distinguish,  by  the 
delivery,  whether  a  composition  is  written  or  extemporaneous. 

It  is  not  difficult  to  arrive  at  this  degree  of  ability  in  delivery. 

If  it  is  attained,  the  discipline  of  the  whole  College  course 
of  study  will  certainly  make  the  student  an  extemporaneous 
speaker. 

FAULTS  TO  BE  PREVENTED. 

In  general  the  monotonous  and  formal  habits,  which  cause  a 
speaker  to  seem  not  to  believe  or  feel  what  he  says. 

The  most  important  precept  is,  to  think  intensely  while 
speaking. 

When  practising  in  private,  attend  to  some  particular  quality 
in  delivery,  in  order  to  form  good  habits. 


SOPHOMORE     YEAR,     FIRST    TERM.  405 

But  when  actually  addressing  an  audience,  never  think  of 
how  you  are  speaking,  but  of  what  you  are  speaking. 

LESSONS . 

Remarks. — The  lessons  are  of  two  classes.  The 
first  and  second,  have  reference  to  making  the  sense  of 
what  is  spoken  INTELLIGIBLE. 

The  very  first  lesson,  however,  is  intended  to  exhibit  a  natu- 
ral and  extemporaneous  style  of  speaking.  This  can  be  effect- 
ed, by  strictly  confining  the  effort  to  a  plain  and  forcible  exhi- 
bition of  mere  thought. 

The  two  first  lessons  command  attention,  and  make  the  de- 
livery natural,  forcible  and  distinct.  They  also  discipline  the 
voice  and  gesture  preparatory  to  attempting  the  next,  which  are 
to  be  more  polished  and  expressive. 

Hence  in  the  first  lessons,  no  more  should  be  attempted  than 
can  be  thoroughly  mastered  at  a  single  first  effort.  The  student 
must  defer  the  most  interesting  expression  which  he  feels  him- 
self capable  of  giving,  until  he  practises  the  lessons  on  expression. 
The  great  additional  advantage  will  thus  result,  that  expression, 
and  what  is  most  beautiful  and  interesting  in  delivery,  will  have 
a  solid  foundation  in  thought  and  common  sense.  And  thus 
all  danger  of  becoming  theatrical  will  also  be  avoided. 

The  third  and  fourth,  practise  the  speaker  in  EXPRES- 
SION. 

The  fifth  lesson  combines  the  qualities  thus  far  acqui- 
red, into  one  harmonious  whole. 

In  this  lesson  the  speaker  yields  himself  wholly  to  the  im- 
pulse of  thought  and  feeling. 

The  result  will  be  an  exhibition  of  the  natural  elo- 
quence of  the  speaker,  developed  and  improved  by  pre- 
paratory lessons  in  Elocution. 

35 


406  LESSONS  FOR  EXTRACTS. 

The  distinction  is  always  kept  in  view,  between  such  elocu- 
tion as  is  acquired  merely  by  rule,  and  a  spontaneous  and  cap- 
tivating eloquence. 

Though  thought  and  feeling  cannot  be  directly  taught,  yet 
certain  modes  of  practice  will  excite  them.  Habits  may  be 
formed  of  vividness  of  mind  in  speaking.  When  this  has 
been  done,  the  very  act  of  speaking  will  arouse  the  mind  to 
activity,  and  kindle  the  feelings. 

LESSON  I. 

MANLY   ATTITUDE   AND   GESTURE AUDIBILITY DISTINCTNESS. 

Directions. — 1st.  Stand  simply  erect.  Gesture  freely 
to  assist  the  voice. 

Be  careful  to  extend  the  arm  forwards  with  manly 
freedom  and  heartiness. 

2d.  Propel  the  voice  to  the  farthest  extremity  of  the 
room,  and  give  its  sound  a  MANLY  FORCE,  to  command 
respect  and  attention. 

3d.  Be  deliberately  DISTINCT.  That  is,  do  not  suffer 
the  words  and  syllables  to  be  huddled  together.  This 
is  to  be  done  by  attending  to  the  natural  grouping  of 
the  words. 

Be  careful  to  give  a  separate  impulse  of  the  voice  to 
each  grovp.  yet  in  a  smooth  and  natural  manner. 

Whenever  two  groups  are  attempted  to  be  uttered  at  one  im- 
pulse, the  utterance  will  inevitably  be  indistinct. 

In  uttering  each  group,  be  careful  to  exert  a  vigorous 
action  of  the  mind,  to  impress  the  idea  on  the  audience. 

Particular  use  is  also  made  of  this  lesson  to  discipline  the 
voice,  so  that  subsequently  no  exertion  may  be  necessary  to  en- 
able the  speaker  to  fill  the  large  room  in  which  he  speaks. 


SOPHOMORE     YEAR,     FIRST    TERM.  407 

The  upper  key  is  first  practised,  for  the  purpose  of  enlarging 
the  compass  of  the  voice  and  giving  dignity  to  its  whole  range. 
By  the  subsequent  lessons  in  expression,  the  lower  key  is  dis- 
ciplined. Thus  the  whole  compass  of  the  voice  is  not  only 
adapted  to  the  large  room,  but  is  improved  in  its  quality.  Its 
tone  becomes  fuller,  smoother  and  more  interesting.  Also,  by 
employing  a  high  key  in  this  first  lesson,  the  speaker  can,  at 
first,  succeed  better  in  respect  to  an  extemporaneous  and  sin- 
cere manner. 

Consequently,  to  secure  the  greatest  amount  of  improvement 
from  this  lesson,  the  speaker  should  use  much  more  loudness 
than  will  be  expedient  in  the  subsequent  ones.  Loud  speaking 
is  at  first  easier  than  that  in  which  the  voice  is  subdued.  It  is 
only  by  strong  practice,  likewise,  that  the  quality  of  the  voice 
can  be  improved  in  dignity  and  steadiness  of  tone. 

The  most  difficult  part  of  this  lesson,  is  the  steady  SLOWNESS 
that  is  required  for  large  rooms.  Even  speaking  that  is  appa- 
rently rapid,  must  be,  in  fact,  much  slower  when  adapted  to 
large  audiences,  than  when  given  in  a  small  room. 

This  steady  and  deliberate  slowness,  likewise,  prepares  the 
speaker  for  that  ease  and  composure  which  will  be  required  in 
the  last  two  lessons. 

LESSON  II. 

ARTICULATION. 

Directions. — Speak  in  the  same  manner  as  in  the  first 
lesson,  but  in  addition  take  especial  pains  in  ARTICU- 
LATION. 

Thus  the  syllables  will  not  only  be  distinct  from  each  other, 
but  each  letter  will  be  articulated. 

Besides  however  the  finish  and  perfection  which  this  lesson 
is  intended  to  give  to  the  articulation  and  gesture,  it  has  anoth- 
er object  of  still  greater  importance.  Articulation  may  be  per- 


408  LESSONS  FOR  EXTRACTS. 

fectly  distinct,  and  yet  the  tone  of  voice  remain  unmeaning. 
It  is  sometimes  observable,  that  those  who  take  great  pains  with 
their  articulation,  neglect  at  the  same  time  to  keep  the  voice  in 
a  natural  and  interesting  tone. 

Therefore,  in  this  lesson,  articulation  must  be  employed  as 
an  instrument  for  explaining  thought.  The  voice  must  be 
made  as  flexible  as  possible.  The  waving  and  varying  tones  of 
explanation  and  setting  forth  ideas,  as  if  the  speaker  were 
carefully  inculcating  his  own  opinions,  must  be  patiently  culti- 
vated. 

Upon  this  and  the  preceding  lessons  depends  the  acquisition 
of  those  qualities  which  cause  a  speaker  to  appear  as  if  extem- 
porizing. 

Even  when  the  style  of  delivery  appropriate  for  the  composi- 
tion is  that  of  sentiment,  the  practice  of  the  tone  of  sentiment 
is  deferred  to  the  next  lesson.  In  the  present  lesson,  every 
composition  is  spoken  with  explanatory  and  argumentative  turns 
of  voice.  This  prevents  falling  into  what  are  called  tones  in 
speaking,  and  causes  the  final  delivery  to  exhibit  the  requisite 
medium  between  pure  sentiment  and  pure  thought. 

In  addition  to  simple  manliness  of  attitude  and  gesture, 
let  them  be  carefully  adapted  to  the  size  of  the  room. 

The  farther  off  the  more  distant  part  of  the  audience  are, 
the  more  erect  is  the  natural  attitude,  and  the  higher  is  the 
hand  raised  in  appealing  to  them. 

In  large  rooms,  the  hand,  in  ordinary  gesture,  must  rise  at 
least  as  high  as  the  shoulder  or  the  upper  part  of  the  breast. 

In  this  lesson  also,  the  speaker  finds  himself  sufficiently  at 
leisure,  to  watch  i\\Q  flexibility^  variety  and  grace  of  his  action. 
It  is  therefore  advisable  to  gesture  during  the  whole  of  the  les- 
son, and  deliberately  to  study  significance  and  variety  of  motion. 


SOPHOMORE    YEAR,     FIRST    TERM.  409 

LESSON  III. 

EARNESTNESS. 

Remarks. — The  object  of  this  lesson,  is  to  establish  the  habit 
of  expressing  real  thought  and  feeling. 

Every  tone  and  gesture  should  have  the  peculiar  modification, 
which  only  exists  when  there  is  a  hearty  effort  to  interest  and 
convince  the  audience. 

This  is  most  easily  effected,  when  the  audience  is  small,  and 
near  the  speaker — as,  for  instance,  when  a  lawyer  addresses 
a  jury. 

Therefore,  in  this  lesson,  practise  as  follows. 

Directions. — Imagine  a  few  persons  in  the  seats  near 
you,  and  address  them  with  the  most  pointed  and  hearty 
earnestness. 

In  attitude,  lean  forward  towards  them,  bending  at 
the  hips. 

In  gesture,  direct  the  hand  towards  them. 

Take  more  especial  pains  to  be  pointedly  earnest  on 
the  EMPHATIC  WORDS.  Be  sure  to  speak  them  with  suf- 
ficient force.  Dwell  also  upon  them  in  an  earnest 
manner. 

In  private  practice  carry  this  earnestness  to  a  great  extreme, 
even  to  the  degree  of  violence.  If  this  be  faithfully  done,  the 
voice  and  gesture  will  become  habitually  spirited  and  interest- 
ing, even  in  the  calmest  and  most  quiet  moods  of  delivery. 

LESSON  IV. 

ELOQUENCE. 

Remark. — Eloquence  cannot  like  elocution  be  learned  from 
a  teacher.  Yet  a  person  may  teach  himself  to  be  eloquent, 
and  an  experienced  teacher  can  afford  him  considerable  assist- 
ance. 

35* 


410 


LESSONS     FOR    EXTRACTS. 


Directions. — Practise  the  same  pointed  address,  as  in 
the  preceding  lesson,  (but  without  violence,)  and  look 
about  three  quarters  of  the  distance  across  the  room. 

Adapt  attitude  and  gesture  to  the  same  distance. 

Unite  with  the  tones  of  earnestness,  the  distinctness 
and  articulation  of  the  two  first  lessons. 

Keep  the  feelings  vivid. 

Be  careful  never  to  relax  in  deliberate  energy  and 
force,  so  that  the  voice  may  have  a  striking  expression 
in  all  parts  of  the  room. 

The  speaking  will  thus  become  manly  and  effective.  The 
speaker  will  be  forcible,  earnest,  sincere. 

LESSON  V. 

EXTEMPORANEOUSNESS. 

Remark. — The  most  striking  things  in  delivery  will  often  oc- 
cur suddenly  to  the  mind  of  the  speaker,  during  the  excitement 
of  speaking.  A  speaker  \vho  cultivates  a  natural  instead  of  a 
theatrical  eloquence,  will  not  be  able  always  to  speak  the  same 
discourse  in  precisely  the  same  manner.  He  must  have  the 
habit  of  encouraging  good  impulses,  and  should  generally  act 
out  new  and  sudden  ones,  without  distrust  or  hesitation. 

Directions. — Speak  wholly  from  the  impulse  of 
thought  and  feeling. 

Aim  to  appear  as  if  extemporizing. 

Take  no  particular  pains  as  to  any  one  point  that  has 
been  studied  in  the  previous  lessons. 

Imagine  the  whole  audience  present.  Act  upon  them, 
and  endeavor  to  interest  them  in  the  thoughts  and  feel- 
ings of  the  composition. 

If  the  composition  be  well  committed  to  memory,  and  the 
above  lessons  faithfully  practised,  there  is  no  danger  that  the 


SOPHOMORE  YEAR,  SECOND  TERM.     411 

speaker  will  manifest  embarrassment.  Experience  shows  that 
natural  diffidence  is  no  serious  impediment  to  eloquence  in  pub- 
lic speaking.  It  generally  springs  from  sensibility,  and  this 
characteristic  is  favorable. 


SOPHOMORE  YEAR,  SECOND  TERM. 

SUBJECT  OF  STUDY.  INTERESTING  SPEAKING.  The 
eloquence  of  FULL,  ENTHUSIASM. 

Remarks. — The  preceding  course  of  lessons  cultivated  the 
eloquence  of  thought  and  manly  energy. 

It  is  the  object  of  the  present  course  to  superadd  enthusiasm. 

LESSON  I. 

MUSICAL   VOICE. 

Remarks. — In  general,  when  an  audience  is  to  be  interested, 
it  must  first  be  aroused  and  excited.  Therefore,  to  be  interest- 
ing, we  must  first  be  spirited.  But  in  order  to  be  spirited,  we 
must  begin  our  practice  with  being  forcible. 

If  we  attempt  to  cultivate  a  musical  voice  for  a  large  room, 
without  first  acquiring  a  manly  force,  we  shall  become  feeble 
and  effeminate. 

Directions. — 1.  Stand  erect,  with  the  chest  thrown 
well  forwards.  Let  the  lower  limbs,  however,  be  easy, 
to  avoid  a  swelling  attitude. 

The  position  of  the  body  will  thus  express  enthusiasm. 

2.  Open  the  hand  wide,  and  extend  the  arm  to  its  full 
length — stiffening  the  muscles. 

The  action  of  the  arm  will  thus  correspond  to  the 
condition  of  the  breast.  Its  motions  will  be  slow  and 
earnest. 


412  LESSONS     FOR    EXTRACTS. 

3.  In  this  lesson,  use  the  upper  key  of  the  voice,  but 
with  a  deep  tone. 

Address  the  most  distant  part  of  a  very  large  audience. 

Make  the  voice  reach  them  without  explosive  effort, 
but  rather  by  an  earnest  prolongation  of  tone. 

LESSON  II. 

DEEP   TONED    VOICE. 

Remarks. — The  previous  lesson  will  not  complete  the  acqui- 
sition of  the  necessary  tone  of  voice.  Enthusiasm,  which  is 
the  source  of  what  people  call  an  interesting  manner  in  delivery, 
springs  from  meditation. 

Directions. — Practise  in  the  same  way  as  in  the  pre- 
ceding lesson,  but  in  the  meditative  mood  of  delivery. 
Vide  part  3,  chap.  1. 

Use  as  much  depth  of  tone  as  in  earnest  and  passion- 
ate soliloquies. 

Let  the  speaker  withdraw  wholly  into  his  own  mind, 
but  give  his  feelings  bold  utterance. 

It  will  still  be  necessary  to  address,  in  imagination,  a  very 
large  audience.  Unless  this  be  done,  the  expression  of  enthu- 
siasm will  be  so  feeble  and  obscure,  as  to  excite  commiseration, 
rather  than  sympathy. 

LESSON  III. 

INCULCATION. 

Remarks. — The  voice  must  now  acquire  the  tone  of  forcible 
and  pointed  address. 

Without  this  lesson,  the  voice  will  sound  too  abstracted. 

Power  must  also  be  employed,  to  command  respect. 

Directions. — Repeat  the  first  lesson,  but  address  an 
imaginary  audience  in  the  room. 


SOPHOMORE  YEAR,  SECOND  TERM.      413 

Do  this  with  a  deliberately  pointed  address. 

Thus  the  voice,  having  previously  acquired  a  strongly 
interesting  tone,  will  make  the  audience  think  as  well  as 
feel. 

LESSON  IV. 

APPEAL. 

Remarks. — The  last  lesson  will  have  produced  a  style  of 
speaking  of  great,  yet  not  the  highest  power. 

A  powerful  appeal  has  more  effect  than  the  strongest  incul- 
cation. 

Directions. — Proceed  in  the  meditative  mood  as  in 
the  second  lesson,  but  look  earnestly  at  an  audience  in 
the  room. 

Make  the  most  powerful  appeal  to  their  sympathies, 
with  voice  and  gesture. 

LESSON  V. 

APPROPRIATE    STYLE    FOR    THE    COMPOSITION. 

Remarks. — Each  of  the  previous  lessons  will  have  exhibited 
a  natural  and  interesting  delivery,  but  the  object  of  the  present, 
is  to  cultivate  the  precise  medium  between  different  qualities 
which  best  fits  the  composition  spoken. 

Directions. — Imagine  the  class  audience  present,  and 
surrender  the  mind  unreservedly  to  the  impulses  of  the 
thoughts  and  language  to  be  uttered. 

Address  the  class,  not  as  acquaintances,  but  as  repre- 
sentatives of  our  common  human  nature. 

Be  fearless  in  appeal  to  the  universal  sympathies  of 
mankind. 

Observation. — Speakers  are  apt  to  fear  that  exhibitions  of 
enthusiasm  may  be  unsafe.  This  will  never  be  the  case,  when 


414  LESSONS  FOR  EXTRACTS. 

feeling  is  united  to  thought,  and  petty  differences  of  character 
among  mankind  are  disregarded.  Confident  appeals  to  univer- 
sal sympathy,  must  necessarily  meet  with  a  response. 


SOPHOMORE  YEAR,  THIRD  TERM. 

SUBJECT  OF  STUDY.  COMMANDING  SPEAKING.  The 
eloquence  of  CULTIVATED  POWER. 

Remarks. — The  great  object  of  the  present  course  of  lessons, 
is  to  cultivate  a  developementof  all  the  resources  for  interesting 
an  audience,  which  are  furnished  by  the  composition  to  be 
spoken. 

LESSON  I. 

EXPANSION    OF    THOUGHT. 

Remarks. — Speakers  of  cultivated  power,  find  more  meaning 
in  the  words  of  an  eloquent  composition,  than  inferior  speakers 
discover. 

The  speeches  of  the  highest  class  of  orators  are  the  most  brief 
in  language,  yet  the  most  full  of  thought.  It  is  the  especial  ob- 
ject of  delivery  to  express  this  fullness  of  meaning. 

Directions. — Large  audiences  expand  a  speaker's  mind. 
Therefore  address,  in  imagination,  a  very  large  audience. 

Cultivate  great  freedom  and  flexibility  of  attitude. 

Let  the  changes  of  position  be  bold  and  decided. 

Use  great  expansion  and  variety  of  gesture. 

Employ  a  slow  articulation,  long  pauses  and  striking 
transitions  of  voice.  Make  use  of  striking  and  deliberate 
emphasis,  as  the  most  powerful  of  instruments  for  pro- 
ducing the  effects  that  you  wish. 

Strive,  with  intense  effort  of  mind,  to  make  the  audi- 
ence think  at  every  word. 


SOPHOMORE  YEAR,  THIRD  TERM.       415 

LESSON  II. 

EXPANSION    OF    FEELING. 

Remarks. — In  the  previous  lesson,  the  effort  has  been  to  dis- 
play thought.  The  audience  also  were  aroused,  and  made  to 
think  with  the  speaker.  To  thought  must  now  be  added  feel" 
ing.  This  lesson  likewise,  must  be  practised  as  before  a  very 
large  audience. 

Directions. — Speak  as  before,  but  in  the  meditative 
mood,  and  with  strong  emotion.  Vide  p.  337. 

Make  especial  use  of  all  the  resources  that  can  influ- 
ence the  imaginations  of  the  audience. 

Whenever  the  imagination  can  be  appealed  to,  make 
use  of  gestures  that  are  boldly  poetical. 

Keep  the  mind  intensely  watchful,  that  no  opportuni- 
ty escape,  in  which  the  audience  can  be  made  to  feel. 

LESSON  III. 

SYMPATHY. 

Remarks. — The  very  best  speaking  does  not  attempt  to  com- 
pel men,  as  it  were,  by  mere  force.  There  should  always  be 
more  or  less  of  the  persuasive.  Persuasion  appeals  to  sympathy. 

Directions. — Address  an  audience  in  the  room,  but 
with  the  same  enlarged  exhibition  of  thought  and  feel- 
ing. 

Look  earnestly  at  the  audience,  and  endeavor  to  enlist 
their  sympathies. 

Let  the  voice  be  deliberately  flexible,  and  a  marked 
use  be  made  of  pauses  and  transitions. 


416  LESSONS    FOR    EXTRACTS. 

LESSON  IV. 

DETERMINATION. 

Remarks. — A  speaker  who  has  an  important  point  to  gain, 
does  not  rest  satisfied  with  a  mere  effort  to  persuade.  To  make 
sure  of  his  object,  he  adds  a  power,  that  proceeds  from  deter- 
mination. 

Directions. — Address  an  audience  in  the  room.  Ap- 
peal powerfully  to  sympathy,  but  snperadd  that  force 
which  comes  from  a  determination  to  carry  a  point. 

When  the  compositions  of  others  are  spoken,  and  in 
general,  when  a  formal  written  address  is  delivered,  the 
point  to  be  carried,  is  to  make  the  audience  attend,  and 
take  an  interest  in  the  ideas  that  are  offered. 

LESSON  V. 

CONFIDENCE. 

Remarks. — Speaking  may  be  skillful,  interesting  and  forcible, 
and  yet  fail  of  its  intended  effect.  In  such  cases,  the  speaker 
does  not  place  full  confidence  in  his  audience. 

Directions. — Superadd  to  persuasion  and  determined 
force,  a  bold  confidence  in  the  audience. 

Disregard  their  accidental  characters  and  circumstan- 
ces, and  appeal  confidently  to  such  feelings  as  are  the 
same  in  all  men. 


JUNIOR    YEAR,     FIRST    TERM.  417 


JUNIOR   YEAR,   FIRST   TERM. 

SUBJECT  OF  STUDY. — Acceptable  delivery  before  large 
audiences.  Style  of  delivery  for  POPULAR  ORATORY. 

Remarks. — There  is  a  peculiar  excitement  produced  in  a 
speaker  by  the  presence  of  a  large  crowd  of  his  fellow  men — a 
more  expanded  sympathy,  and  a  corresponding  enlargement  of 
manner,  in  delivery. 

To  succeed  with  large  and  miscellaneous  assemblages,  elo- 
quence must  be  spirit-stirring  and  attractive. 

A  musical  voice  and  rhythm  are  indispensable. 

Attitude  and  gesture  must  intentionally  be  made  more  bold 
and  free,  in  order  to  attract  the  eye  from  a  distance. 

The  question  will  be  asked,  Does  the  study  and  practice  of 
successful  delivery  before  large  audiences,  improve  the  speak- 
er's style  of  delivery  before  smaller  ones?  It  does  ;  and  indeed 
it  is  impossible  to  arrive  at  the  higher  styles  of  eloquence  by 
any  other  process  of  cultivation.  Without  it,  a  speaker's  man- 
ner will  exhibit  a  narrowness,  littleness,  and  restraint.  It  is 
always  easy  to  reduce  the  scale  of  our  delivery  when  we  wish 
to  adapt  it  to  a  small  audience/  Vide  pp.  169,  170. 

LESSON  I. 

EXPANDED    VOICE. 

Remarks. — The  object  of  this  lesson,  is  to  make  the  most  re- 
mote and  inattentive  auditors  hear  and  attend,  by  means  of  the 
full  tone  and  musical  sound  of  the  voice. 

In  the  lower  part  of  the  upper  key  of  each  person's  voice, 
there  is  a  peculiar,  smooth,  full  and  musical  tone,  which  is  the 
most  expressive,  and  can  be  heard  the  farthest. 

If  this  agreeable  and  effective  tone  be,  at  first,  carefully  culti- 
vated on  the  upper  part  of  the  voice,  the  subsequent  lessons  will 

36 


418  LESSONS  FOR  EXTRACTS. 

develope  it  in  the  lower  keys,  and  the  student  will  be  able  finally 
to  exhibit  it  on  any  key  that  is  desirable. 

This  full  and  musical  voice  is  essential  for  very  large  audi- 
ences. 

It  is  only  by  using  this  quality  of  voice,  that  the  speaker  can 
proceed  with  ease.  Any  other  will  be  disagreeable  to  the  hear- 
ers, and  tend  to  bring  on  a  sore  throat  in  the  speaker. 

The  key  of  voice  for  an  audience,  depends  on  the  distance 
of  the  more  remote  hearers  from  the  speaker,  (vide  Whately's 
Rhet.,  Part  IV.)  The  larger  the  audience,  the  higher  must  be 
the  key.  Vide  p.  171. 

For  the  same  reason,  the  larger  the  audience,  the  SLOWER 
(in  an  easy  and  sustained  way)  must  be  the  utterance. 

The  vowels  must  be  slightly  prolonged,  to  favor  the  musical 
audibility,  and  make  the  tones  of  expression  reach  to  a  distance. 

For  the  same  reason,  emphatic  words  and  pauses  must  be 
given  with  great  prolongation. 

Directions. — Imagine  a  large  crowd  present. 

Stand  erect,  and  with  the  body  rising  to  its  full  height. 

Lean  forwards — not  from  the  hips,  but  from  the  foot 
on  which  the  body  rests. 

Direct  the  arm  in  gesture,  over  the  heads  of  the  greater 
part  of  the  audience,  to  those  more  remote.  Let  the 
hand  be  as  high  as  the  shoulder. 

Keep  the  voice  sustained  in  the  key  for  the  distance. 

Separate  the  groups  of  words,  to  allow  of  perfect  ease 
in  taking  breath. 

Prolong  the  words,  and  especially  the  emphatic  ones. 

Do  not  strain  or  force  the  voice,  but  suffer  it  as  it  were, 
to  flow  of  itself.  It  is  indispensable  that  the  delivery  be 
easy  and  pleasant  to  the  speaker  himself. 

When  first  beginning  this  practice,  use  a  considerable 
degree  of  loudness. 


JUNIOR    YEAR,    FIRST    TERM. 


419 


In  the  case  of  most  voices,  this  last  direction  is  at  first  abso- 
lutely necessary  for  success,  and  this  kind  of  discipline  rapidly 
deepens  and  mellows  the  tone,  till  the  voice  becomes  audible 
(as  in  a  fine  toned  musical  instrument)  without  loudness. 

LESSON  II. 

SPIRITED    ENUNCIATION. 

Remarks.  —  The  previous  lesson  if  practised  without  this,  will 
in  time,  produce  a  sort  of  drawl,  such  as  we  often  hear  from 
those  who  speak  in  the  open  air.  Vide  p.  172. 

Articulation,  likewise,  must  be  superadded  to  distinctness. 
The  object  should  be,  not  only  to  attract  distant  or  inattentive 
auditors  by  the  sound  of  the  voice,  but  to  cause  them  to  follow 
the  speaker,  syllable  by  syllable. 

The  hearers  should  be  able  to  distinguish  the  words  and  syl- 
lables as  clearly,  as  if  they  saw  them  printed  in  large  characters 
and  held  up  before  them. 

Directions.  —  Exhibit  the  qualities  of  the  last  lesson, 
but,  practise,  in  addition,  a  very  forcible  accent,  and  an 
energetic  articulation  of  every  letter. 

Endeavor  to  compel  attention,  not  merely  to  the  gen- 
eral sense,  but  to  every  word  that  you  utter. 

LESSON  III. 

HARMONIOUS    FLOW. 

Remarks.  —  As  the  first  lesson,  if  exclusively  practised,  may 
in  the  end  produce  drawling  and  formality,  so  the  second  may 
lead  to  stiffness  and  a  dry  and  labored  style. 

A  spontaneous  and  captivating  FLOW  of  thought  and  feeling 
must  be  cultivated. 

This,  philosophically  stated,  is  musical  rhythm,  (the  highest 
degree  of  which  is  exhibited  in  the  recitation  of  lyrical  poetry,) 


420  LESSONS  FOR  EXTRACTS. 

but  it  is  difficult  in  elocution  to  cultivate  rhythm  on  musical 
principles.  The  following  mode  of  practice  will  be  certain  to 
secure  a  flowing  rhythm.  The  mode  of  practice  corresponds 
with  the  true  cause  of  rhythm,  both  in  music  and  poetry. 

Directions. — Use  the  full  and  musical  voice.  Proceed 
with  a  free  and  unhesitating  FLUENCY. 

Avoid  all  self-criticism,  and  abandon  yourself  to  the 
pleasurable  flow  of  impulse. 

As  you  proceed,  give  yourself  up  wholly  to  the  PLEAS- 
URABLE EXCITEMENT  of  hearty  and  flowing  expression. 

Observation. — A  very  common  fault  among  public  speakers, 
is  a  habit  of  intellectual  hesitation.  This  is  frequently  supposed 
to  proceed  from  defect  of  memory,  or  deficiency  of  ideas.  It  is 
in  fact,  generally,  a  mere  habit  of  mind  in  delivery,  and  may 
readily  be  broken  up  by  such  exercises  as  those  of  this  lesson. 

LESSON  IV. 

BOLD    EMOTION. 

Remarks. — A  manifestation  of  emotion  sufficiently  striking 
for  a  small  audience,  will  appear  uninteresting  and  tame  before 
a  large  one. 

Large  audiences  require  that  exhibitions  of  imagination  and 
feeling  be,  as  it  were,  on  a  large  scale. 

Directions. — Neglect  the  audience  to  some  extent, 
and  yield  yourself  up  to  your  own  thoughts  and  feelings. 

Be  perfectly  fearless  and  indifferent  as  to  any  possible 
faults,  and  abandon  yourself  to  unrestrained  enthusiasm. 

Especially  let  this  be  the  case  on  the  most  important 
words  and  passages. 

The  enthusiasm  should  be  more  meditative  and  so- 
liloquizing, or  more  earnestly  addressed  to  the  audience, 
according  to  the  character  of  the  composition  delivered. 


. 

JUNIOR    YEAR,     SECOND     TERM.  421 

LESSON  V. 

ABANDONMENT. 

Remarks. — Among  men  of  education,  the  chief  impediment 
to  eloquence,  is  the  habit  of  self-criticism  and  distrust  of  them- 
selves, at  the  time  of  speaking. 

-  These  habits  of  checking  impulses,  may  prevent  some  faults, 
but  generally  destroy  all  positive  excellence. 

Take  as  a  golden  rule,  NEVER  TO  WATCH  AND  CRITICISE  THE 

DETAILS  OF  YOUR  ELOCUTION,  WHEN  ACTUALLY  ADDRESSING  AN 
AUDIENCE. 

Directions.— Indulge  in  the  most  unrestrained  emotion. 

Appeal  triumphantly  to  the  sympathies  of  the  audi- 
ence. 

The  more  boldly  this  is  done,  the  greater  will  be  the 
pleasure  you  will  inspire. 

Observation. — Never  distrust  your  audience.  Address  them 
as  human  beings,  who  cannot  but  share  the  common  sympathies 
of  our  nature, 


JUNIOR   YEAR,   SECOND   TERM. 

SUBJECT  OF  STUDY. — Elevated  Delivery.  The  elo- 
quence of  glowing  thought.  Delivery  which  elevates 
the  minds  of  the  auditors. 

Remarks. — It  is  the  especial  object  of  the  present  course  of 
five  lessons,  to  prepare  students  for  speaking  their  own  compo- 
sitions. 

From  an  imperfect  knowledge  of  delivery,  many  are  not 
aware,  that  any  serious  essay  may  be  spoken  in  an  elevated 

36* 


422          LESSONS  FOR  EXTRACTS. 

manner,  if  the  time  and  place  are  suitable.  They  suppose 
such  a  style  of  speaking  necessarily  requires,  if  not  a  declama- 
tory, at  least  an  oratorical,  or  a  rhetorical  style  of  composition. 
This  is  a  very  injurious  mistake. 

Upon  the  present  course  of  lessons,  is  placed  the  sole  reliance 
for  the  actual  merit  of  the  speaking  at  the  Junior  Exhibition. 
The  latter  is  not,  indeed,  required  to  be,  without  exception,  in 
an  elevated  style;  but  it  is  nevertheless  expected,  that  each 
composition  will  be  spoken  in  a  spirited  and  interesting  man- 
ner. If  this  be  done,  the  speaking  will  be  either  elevated  or 
familiar.  But  familiar  speaking,  if  before  a  large  and  miscel- 
laneous audience,  is  far  more  difficult  of  execution  than  that 
which  is  elevated.  It  requires  more  self-possession  and  expe- 
rience, a  voice  of  more  real  strength,  and  an  uncommon  maste- 
ry of  rapid  articulation,  as  well  as  of  the  power  of  accommo- 
dating the  voice  to  rooms.  To  arrive  at  it,  an  elevated  style 
must  first  be  attained.  It  is  in  fact  the  last  accomplishment 
acquired  by  speakers,  being  mastered  only  after  considerable 
practice — at  least  in  imagination — in  speaking  to  large  audi- 
ences. 

To  be  successful  before  large  audiences,  it  is  absolutely  ne- 
cessary, therefore,  to  be  master  of  a  high  and  bold  style  of  de- 
livery. Upon  the  same  resource,  also,  must  be  placed  the  sole 
dependence  for  giving  interest  to  such  chaste  yet  plain  essays, 
as,  although  sensible  and  judicious,  would,  when  simply  read 
in  a  large  room,  sound  tame  and  uninteresting. 

It  is  recommended  to  the  students  to  endeavor,  if  possible,  to 
exemplify  the  ability  in  speaking  required  in  the  following  les- 
sons, upon  such  composition  as  is  not  unlike  what  they  them- 
selves would  write;  to  give  interest  to  plain  language  and  valu- 
able thoughts,  by  means  of  elevation  and  skill  of  delivery;  and 
not  to  be  dependent  for  animation  and  enthusiasm,  on  uncom- 
mon qualities  of  style. 


JUNIOR     ¥  E  A  R  ,    SECOND    TERM.  423 

LESSON  I. 

POWER. 

Remarks. — It  is  the  object  of  the  present  lesson,  to  give 
such  discipline  as  to  prevent  all  languor  or  drawling  of  the 
voice,  and  all  awkwardness  of  gesture.  We  use  the  term  pow- 
er, because  it  describes  the  nature  of  the  speaker's  efforts.  If 
successfully  exhibited,  it  produces  what  audiences  call  by  a  low- 
er term,  viz.  spirit  or  animation.  Those  who  have  not  learned 
by  experience,  are  singularly  ignorant,  how  vivid  and  concen- 
trated an  effort  of  mind  and  body  is  required,  to  give  to  a  large 
audience  the  impression  of  spirit  and  animation. 

Directions. — Address  an  extremely  large  audience. 

Give  accent  and  articulation  with  an  intentional  and 
commanding  FORCE. 

To  make  this  easy  and  natural,  as  well  as  sufficiently 
powerful,  utter  the  words  with  an  inward  feeling  of 
power. 

Determine  to  command  the  attention  of  the  audience. 

Observation. — It  is  a  speaker's  own  fault  if  his  audience  are 
inattentive.  In  general  it  is  in  the  best  taste,  not  to  make 
much  display  of  this  confidence  in  one's  own  skill,  when  actu- 
ally addressing  an  audience.  Still  if  some  slight  manifestation 
of  it  does  appear,  the  effect  is  not  disagreeable.  It  is  pleasant 
to  witness  manifestations  of  power,  in  this,  as  in  other  acts. 

LESSON  II. 

SPLENDOR. 

Remarks. — It  may  seem  a  bold  direction,  to  advise  a  modest 
young  man  to  cultivate  splendor  of  delivery.  If  he  succeeds, 
however,  in  acquiring  it,  audiences  will  apply  a  much  lower 
epithet.  The  strongest  expression  will  be  such  as  striking. 


424  LESSONS  FOR  EXTRACTS. 

In  fact  we  use  the  term  in  reference,  not  so  much  to  what  the 
speaker  will  actually  exhibit,  as  to  what  he  should  aim  at.  An 
animated  speaker's  thoughts  and  feelings,  seem  far  more  vivid 
and  glowing  to  himself  than  to  others.  This  lesson — being 
private — should  be  carried  to  a  great  extreme. 

Directions. — Let  the  eyes  of  the  imaginary  audience 
be  gratified  by  attitudes  and  gestures  of  the  boldest  kind. 

Cultivate  bold  poetical  gestures,  which  appeal  to  the 
imagination. 

Arouse  activity  of  imagination  in  yourself  and  others, 
and  keep  every  image  vivid  and  strong. 

LESSON  III. 

SENTIMENT. 

Remarks. — A  better  term  than  sentiment  would  be  pathos, 
in  the  sense  in  which  it  was  used  by  the  Greeks.  In  a  vivid 
state  of  the  intellect  and  imagination,  every  idea  and  image 
has  some  feeling  connected  with  it.  It  is  chiefly  the  expres- 
sion of  these,  that  constitutes  eloquence.  Remember  that  this 
lesson,  being  practised  in  private,  should  be  executed  in  an  ex- 
treme manner. 

Directions. — Enlarge  and  magnify  the  exhibition  of 
feeling. 

Practise  such  power  in  this  respect,  that  when  before 
an  audience,  you  shall  not  need  to  make  much  exertion, 
and  indeed  shall  be  spirited  and  interesting,  while,  at 
the  same  time,  you  appear  simply  calm  and  graceful. 

LESSON  IV. 

TRIUMPHANT    APPEAL. 

Remarks.— It  is  an  essential  requisite  of  satisfactory  delive- 
ry, that  it  be  executed  with  a  reasonable  degree  of  ease.  If 


JUNIOR  YEAR,  SECOND  TERM.        425 

the  audience  notice  that  a  speaker  is  under  the  necessity  of  ma- 
king excessive  exertion,  they  will  feel  either  disgust  or  commis- 
eration. Practice  and  experience  enable  one  to  make  the  vig- 
orous efforts  which  are  really  necessary,  in  a  graceful  and  agree- 
able manner.  The  delivery  will  indeed  seem  to  the  audience  to 
flow,  almost  without  effort,  and  from  the  spontaneous  and  pleasu- 
rable impulses  of  the  speaker.  And  this  is  the  principal  cause 
of  the  high  enjoyment  experienced  in  hearing  really  good  speak- 
ing. It  will  therefore  be  best  to  continue  the  same  powerful 
exertion  as  in  the  previous  lessons.  By  doing  this,  we  shall  so 
strengthen  the  faculties  required  in  delivery,  that  the  final  les- 
son can  successfully  be  practised  in  an  easy,  calm  and  genial 
mood  of  mind. 

Directions. — Address  in  imagination  an  audience  in 
the  room,  and  apply  directly  to  them  all  the  resources 
of  eloquence  that  have  been  practised  in  the  previous 
lessons. 

Let  not  your  manner  be  that  of  one  asking  for  the 
admiration  of  the  audience.  Rather  appeal  trium- 
phantly— first,  to  the  common  sympathies  of  men,  and 
secondly,  to  their  social  and  friendly  feelings. 

LESSON  V. 
CALM  TOWER. 

Remarks. — The  previous  lessons  having  been  practised  as 
gymnastic  exercises  of  the  mind,  a  strength  and  skill  will  have 
been  acquired,  which  will  relieve  the  speaker  from  the  necessi- 
ty of  making  more  exertion,  than  just  that  degree  which  is 
most  genial  for  himself,  and  agreeable  to  the  audience. 

Directions. — Yield  yourself  up  to  pleasurable  impul- 
ses of  intellect,  imagination  and  feeling. 

In  general,  be  calm  and  graceful, 


426  LESSONS     FOR    EXTRACTS. 

If  an  idea,  however,  requires  even  a  vehement  and 
overpowering  force,  do  not  spoil  its  utterance  by  an  un- 
natural reserve. 

Observation. — Modesty  is  of  course  essential  to  a  gentle- 
man ;  yet  it  does  not  call  for  a  studious  effort  to  conceal  a  well 
founded  consciousness  of  power.  Honesty,  frankness  and  open- 
ness of  disposition,  are  as  essential  as  modesty. 


JUNIOR  YEAR,  THIRD  TERM. 

SUBJECT  OF  STUDY. — Matured  Delivery.  Such  speak- 
ing as  is  required  for  Oratory.  Skill  and  power  for 
Mass  Meetings. 

Remarks. — It  not  being  the  custom  of  this  institution,  to 
make  Speaking  a  regular  exercise  of  the  Senior  Class,  it  must 
be  during  the  Junior  year  that  students  are  to  become  qualified 
for  appearing  at  Commencement  It  is  therefore  a  principal 
object  of  the  following  course,  to  assist  in  bestowing  this  quali- 
fication upon  all  the  members  of  the  class  alike.  The  instruc- 
tors make  no  attempt  to  render  the  delivery  of  those  who  actu- 
ally appear  on  that  occasion,  any  thing  more  than  a  fair  exhibi- 
tion of  the  average  knowledge  of  this  branch  possessed  by  the 
graduating  class.  Yet  for  a  young  man  who  has  had  no  expe- 
rience before  audiences  except  what  can  be  acquired  in  Col- 
lege, to  speak  with  acceptableness  in  a  very  large  church 
crowded  to  its  utmost  capacity,  is  a  difficult  undertaking. 

The  highest  styles  of  secular  oratory,  exhibited  in  this  coun- 
try at  the  present  day,  like  the  triumphs  of  ancient  eloquence, 
are  brought  out  by  the  influence  of  mass  meetings.  These  not 
only  elevate  and  expand  a  speaker's  mind,  but  stimulate  it  to 
its  utmost  efforts.  Littleness  and  narrowness  of  manner  dis- 


JUNIOR    YEAR,    THIRD    TERM.  427 

appear,  and  what  artists  call  breadth  of  style  takes  their  place. 
Sharpness,  nasality  and  obscurity  of  tone,  are  no  longer  heard, 
while  awkward  constraint  in  attitude  and  gesture  gives  place  to 
freedom  and  heartiness.  (Vide  pp.  161  and  169.)  Even  that 
most  difficult,  and,  in  our  judgment,  most  valuable  of  all  modes 
of  address,  a  graceful,  spirited,  and  yet  commanding  familiari- 
ty, is  most  rapidly  acquired  through  the  bold  freedom  necessary 
for  mass  meetings.  The  cultivation  of  familiar  speaking  being 
obviously  most  appropriate  for  the  Senior  year,  the  following 
lessons  form,  therefore,  an  appropriate  introduction  to  it,  in  ad- 
dition to  being  necessary  as  the  conclusion  of  the  Junior  series 
of  practisings. 

LESSON  I. 

FULLEST    EXPANSION. 

Remarks. — The  most  natural  and  pleasant  mode  of  practis- 
ing that  slowness,  distinctness,  and  sustained  energy  or  grace 
of  manner,  and  (to  use  familiar  language)  that  whole-souled 
expression,  which  we  are  now  proceeding  to  cultivate,  will  be 
to  imagine  ourselves  speaking  to  several  thousands  of  people 
assembled  in  the  open  air. 

Directions. — Without  violence  or  vociferation,  pro- 
ceed in  the  style  of  effective  address  to  a  mass  meeting. 

Imagine  such  an  assembly  before  yon,  and  nature 
will  suggest  the  means  of  success. 

Endeavor  to  adapt  your  delivery  to  an  extreme  dis- 
tance, in  respect  of  key,  slowness,  accent,  emphasis,  ar- 
ticulation, a  sustained  and  harmonious  rhythm,  and  wide 
ranging  gestures  and  changes  of  position. 

Cultivate  this  adaptation  with  energy,  and  also  with 
patience. 


428  LESSONS     FOR    EXTRACTS. 

LESSON  II. 

REFINEMENT. 

Remarks. — It  is  apt  to  be  supposed  that  successful  speaking 
in  the  open  air,  must  necessarily  exhibit  considerable  coarse- 
ness and  rudeness.  This  is  a  mistaken  notion.  A  musical 
voice  is  heard  the  farthest,  and  is  most  favorable  for  articula- 
tion. The  gestures  need  not  be  violent  or  extravagant.  They 
simply  require  to  be  wide  and  free. 

Directions. — Repeat  the  same  practice4  but  in  the 

MEDITATIVE    MOOD. 

By  so  doing,  rude  energy  will  be  changed  into  bold 
and  commanding  enthusiasm. 

No  disagreeable  degree  of  loudness  will  be  necessary. 

LESSON  III. 

ENLARGED    SCALE. 

Remarks. — When  speaking  in  the  circumstances  we  are 
now  supposing,  it  will  not  be  sufficient  to  trust,  as  on  ordinary 
occasions,  merely  to  natural  impulses.  The  speaker  must  take 
pains  to  set  forth  a  striking  exhibition  of  what  ought  to  attract 
the  attention  of  the  audience.  He  must  intentionally  enlarge 
the  scale  of  the  picture,  with  reference  to  its  being  viewed  from 
a  distance.  Otherwise  what  he  does  will  appear  tame  and  un- 
interesting. 

Directions. — Take  pains  to  attract  attention  from  a 
distance. 

Give  an  intentional  increase  of  force  and  boldness  to 
the  emphasis. 

Study  the  boldly  poetical  and  passionate  in  attitude 
and  gesture. 


JUNIOR     YEAR,     THIRD    TERM.  429 

111  this  lesson,  practise  yourself  in  making  a  display 
of  such  things. 

LESSON  IV. 

EMPLOYMENT    OP    STRIKING   PASSAGES. 

Remarks. — It  is  one  of  the  last  and  highest  attainments  in 
delivery,  to  be  able  to  make  an  intentional  employment  of  the 
most  striking  passages  in  a  discourse.  We  are  here,  indeed, 
getting  upon  dangerous  ground  ;  yet  finished  oratory  habitually 
places  great  dependence  upon  favorite  passages.  The  student 
of  delivery  must  not  shrink  from  this  study,  notwithstanding 
the  examples  which  are  so  often  witnessed  of  mere  ostentation 
and  clap-trap. 

Directions. — Distinguish  definitely  in  your  mind,  cer- 
tain passages  as  best  adapted  for  useful  effect. 

Make  especial  efforts  upon  them.  Enter  upon  them 
with  some  deliberation.  Pause  somewhat  after  them. 

Do  not  spoil  their  exhibition,  by  shrinking  from  an 
unreserved  freedom  and  boldness. 

LESSON  V. 

TEMPERANCE. 

Remarks. — The  directions  of  Shakespeare  are  universally 
known,  yet  it  will  be  well  to  quote  them  :  "  In  the  very  torrent, 
tempest,  and  as  I  may  say,  whirlwind  of  your  passion,  you 
must  acquire  and  beget  a  temperance  that  may  give  it  smooth- 
ness." But  with  reference  to  the  opposite  extreme  also,  it  will 
be  not  inappropriate  to  introduce  a  criticism  of  the  celebrated 
Dr.  Beecher,  after  hearing,  by  request,  an  exhibition  of  a  rhe- 
torical  society.  "  Gentlemen,  a  river  must  indeed  have  banks, 
but  still  there  must  be  a  river"  In  this  lesson  the  style  for  a 
mass  meeting  must  be  given  in  its  full  extent. 

37 


430  LESSONS  FOR  EXTRACTS. 

Directions. — Exhibit  a  bold  and  striking  delivery,  but 
moderate  it  sufficiently  for  the  time,  place  and  occasion, 
on  which  you  are  about  to  speak. 

But  let  this  be  done  without  unnatural  reserve  and 
self-restraint. 

Neither  suffer  yourself  to  become  tame.  Give  nature 
a  free  scope. 

Be  perfectly  collected,  and  sufficiently  calm. 

If  you  have  to  fear  ungenerous  criticism,  and  it  is  re- 
ally necessary  to  protect  yourself  against  it,  proceed,  in 
a  considerable  degree,  in  the  Meditative  Mood.  This 
will  afford  an  infallible  protection. 

Observation. — As  the  most  serious  hindrance  to  eloquence 
is  the  fear  of  unsyrnpathizing  and  illiberal  criticism,  let  the 
speaker  himself  cultivate  a  "large  tolerance"  in  his  criticisms 
upon  others.  He  will  find  such  habits  of  great  assistance  to 
his  own  confidence  when  speaking. 


431 


PREPARATION    FOR    JUNIOR    EXHIBI- 
TIONS  AND   COMMENCEMENTS. 


IN  the  first  place,  the  fact  must  be  borne  in  mind,  that  few 
cases  occur,  in  which  a  young  man  does  not  exhibit  a  much 
more  natural  and  interesting  delivery,  when  speaking  an  ex- 
tract from  some  elegant  writer,  than  when  delivering  his  own 
composition.  This  assertion  is  indeed  contrary  to  prevalent 
opinion,  but  the  experience  of  instructors  establishes  its  truth. 
To  say  nothing  of  a  not  unreasonable  degree  of  diffidence,  the 
genuine  modesty  which  almost  always  characterizes  a  really 
good  scholar,  causes  him  to  do  less  justice  to  the  merits  of  his 
own  composition  than  they  deserve.  Especially  if  the  style  is 
in  good  taste  and  free  from  exaggeration  or  pretension,  is  the 
writer  apt  to  fail  in  giving  an  earnestness  or  elevation  of  deliv- 
ery correspondent  to  the  actual  importance  or  interest  of  his 
finest  thoughts.  It  must  be  remembered  that  eloquence  of  de- 
livery does  not  depend  primarily  upon  a  rhetorical  structure  of 
style.  Though  the  contrary  opinion  is  often  entertained,  it  is 
yet  a  mistaken  notion,  and  one  of  exceedingly  injurious  conse- 
quences. On  the  contrary,  the  very  highest  degree  of  eloquence 
in  delivery,  absolutely  requires  that  the  language  uttered  be 
plain  and  simple.  It  will  be  sufficient  to  refer  to  the  Bible,  to 
Shakespeare,  and  to  Demosthenes,  Chatham,  Grattan  and  Pat- 
rick Henry.  The  practical  direction,  therefore,  must  be  for  the 
student  to  render  full  justice  to  the  actual  ideas  which  he  has 
written,  although  the  language  in  which  they  are  expressed, 
may  not  of  itself  excite  his  enthusiasm.  More  particularly  let 
this  be  done  in  all  cases  in  which  the  imagination  is  appealed 


432  ORIGINAL    COMPOSITIONS. 

• 

to.  There  will  be  no  danger  of  rant  or  bombast,  provided  that 
id&s  are  spoken,  and  not  mere  words.  Rant  and  bombast  are 
the  expression,  not  only  of  want  of  thought,  but  also  of  want  of 
real  imagination. 

Another  suggestion  is  4jften  found  to  be  of  great  service. 
Writers  are  apt  to  feel  that  it  will  not  be  safe  or  proper,  to  ex- 
press with  force  or  enthusiasm,  ideas  which  are  not  absolutely 
new.  Here  again  is  a  mistake.  The  true  question  is  not 
whether  an  idea  is  new,  but  whether  it  is  important  and  inter- 
esting. Sometimes  indeed  the  interest  is  partly  or  wholly 
that  of  novelty,  but  ideas  of  the  deepest  interest,  appeal  to  uni- 
versal human  nature,  and  ought  not  to  be  wholly  new.  It  is  a 
great  error  to  attempt  to  depend  solely  on  novelty  for  interest. 
Indeed,  at  best,  the  interest  of  mere  novelty  is  apt  to  be  of  an 
inferior  kind.  In  short,  the  writer  and  speaker  must  take  for 
granted,  that  what  deeply  interests  him,  will  certainly  interest 
his  audience,  provided  he  gives  an  adequate  expression  to  his 
own  feelings. 

As  to  diffidence,  a  single  consideration  should  be  sufficient. 
The  performances  of  modest  young  men  who  are  considered  as 
having  talent  and  scholarship,  are  always  interesting  to  cultiva- 
ted audiences.  Let  another  fact,  however,  be  borne  in  mind; 
diffidence  never  manifests  itself  outwardly  in  any  disagreeable 
degree,  when  a  speaker  is  once  master  of  a  natural  and  extem- 
poraneous style  of  delivery.  But  if  still  further  suggestions  be 
needed,  let  it  be  remembered  that  diffidence  is  no  natural  ob- 
stacle to  enthusiasm  ;  than  which  nothing  is  either  more  inter- 
esting or  more  safe.  Simply  let  care  be  taken  that  diffidence 
do  not  proceed  from  egotism,  and  the  speaker  may  be  relieved 
from  all  embarrassment  by  yielding  himself  up  unreservedly  to 
the  inspiration  of  his  subject.  A  certain  abstractedness,  both 
from  self,  and  from  the  accidental  circumstances  of  the  time 
and  place,  must  exist  in  all  good  delivery.  Vide  the  remarks 
under  the  head  of  the  "  Meditative  Mood/'  p.  340. 


ORIGINAL    COMPOSITIONS.  433 

To  prepare  a  composition  of  greater  length  than  a  mere  ex- 
tract, for  speaking  in  a  manner  to  do  it  full  justice,  is  somewhat 
of  a  task.  If  the  writer  say  he  cannot  do  this  without  audien- 
ces upon  whose  patience  to  practice,  he  proves  himself  destitute 
of  a  useful  knowledge  of  delivery.  Experience  demonstrates 
that  those  who  take  this  ground,  will  be  certain  not  to  succeed. 
A  student  who  had  a  poem  to  recite  at  an  approaching  com- 
mencement, carried  it  to  the  most  celebrated  of  American  act- 
ors, requesting  to  be  instructed  how  to  deliver  it.  The  actor 
glanced  at  the  poem,  and  replied :  "  Tt  would  cost  me  three 
weeks  of  study  to  prepare  for  delivering  this  myself,  and  I  can- 
not undertake  to  qualify  you." 

The  labor  of  writing,  correcting  and  rewriting,  causes  ideas 
to  lose  their  freshness.  The  necessary  hesitation  respecting  the 
choice  of  words  and  arrangement  of  style,  during  the  process  of 
composition,  perplexes  the  memory  of  the  sneaker,  and  distracts 
his  mind  from  that  main  course  of  thought,  upon  which  a  suc- 
cessful delivery  principally  depends.  Without  careful  study  in 
reference  to  speaking,  even  the  best  composition  will  be  liable 
to  appear  immethodical,  confused  and  dull.  By  study,  the  ideas 
will  be  restored  to  that  fresh  interest  with  which  they  first  sug- 
gested themselves  to  the  mind  ;  the  several  parts  of  the  compo- 
sition will  be  connected  in  the  mind  in  their  proper  order  and 
mutual  bearing,  and  their  proportionate  importance  will  be  as- 
sociated with  them  in  the  memory.  It  sometimes  happens  in- 
deed, that  after  thoroughly  preparing  a  composition  for  delivery, 
by  several  repetitions  of  preparatory  speaking,  the  student  com- 
plains that  he  experiences  a  loss  of  interest  in  the  ideas,  and 
finds  it  difficult  to  speak  them  with  animation.  But  if  the  de- 
livery has  been  well  studied,  this  is  an  indication  not  unfavor- 
able. In  such  cases  the  student  has  often  subsequently  inform- 
ed the  writer,  that  the  actual  presence  of  the  audience,  at  once 
relieved  every  such  difficulty,  and  caused  the  whole  series  of 
thoughts  to  pass  through  his  mind  as  if  he  were  speaking  ex- 

37* 


434  ORIGINAL     COMPOSITIONS. 

• 

temporaneously,  and  were  then  for  the  first  time  conceiving 
them.  To  be  in  this  state  of  mind  before  an  audience,  is  said 
by  those  who  have  made  a  thorough  preparation,  to  be  extremely 
inspiriting  and  agreeable. 

The  following  are  the  rules  adopted  in  this  institution,  in  re- 
gard to  preparing  for  Exhibitions  and  Commencements. 

1.  The  compositions  must  be  finished  and  committed 
to  memory,  before  the  beginning  of  the  week  which 
precedes  that  in  which  the  Exhibition  or  Commence- 
ment occurs. 

2.  They  are  t6  be  fully  prepared  for  public  delivery, 
before  the  week  in  which  the  Exhibitioner  Commence- 
ment takes  place. 

A  great  benefit  results  from  making  an  early  preparation, 
and  then  suffering  the  mind  to  remain  for  three  or  four  days, 
in  a  state  free  from  anxiety  or  the  necessity  of  labor.  In  this 
way,  the  speaker  appears  before  the  public  with  a  fresh  and 
cheerful  interest,  and  his  delivery  becomes  more  natural  and 
animated. 

3.  The  student  is  to  prepare  his  own  delivery,  at  least 
up  to  the  point  of  being  able  clearly  to  exhibit  the  ideas 
and  the  methodical  course  of  thought  which  character- 
ize his  composition. 

He  is  to  pay  particular  attention  to  the  pauses  and 
transitions,  at  the  paragraphs  into  which  it  is  divided. 

4.  The  plan  has  been  tried  and  found  to  be  of  great 
benefit,  to  require  each  performer  to  associate  with  him, 
in  practice  before  the  instructors,  one  of  his  companions, 
as  a  friend  and  critic,  to  assist,  by  communicating  his 
impressions,  the  advice  of  the  instructors,  and  the  taste 
and  judgment  of  the  performer  himself. 


ORIGINAL    COMPOSITIONS.  435 

Such  is  ,now  the  established  rule.  The  performer  feels  a 
more  just  confidence,  when  his  delivery  gratifies  one  of  his  fel- 
lows, than  when  he  is  assisted  by  no  sympathy  but  that  of  those 
who  are  far  removed  from  him  in  age. 

5.  It  is  absolutely  necessary,  that  a  young  man  who 
is  to  address  a  crowded  audience  in  a  large  room,  for  the 
first,  or  at  most  for  but  the  second  time  in  his  life,  have 
several  opportunities  of  practising  the  accommodation  of 
his  voice,  attitude  and  gesture,  to  the  room  in  which  he 
is  actually  to  appear. 

For  the  information  of  the  friends  and  patrons  of  this  institu- 
tion, it  will  be  not  unimportant  to  mention,  in  this  place,  that 
skill  in  public  speaking  is  considered  an  accomplishment  of  no 
value,  except  for  those  whose  education  qualifies  them  for  use- 
fulness. No  one  is  appointed  to  appear  before  the  public  merely 
because  he  is  a  speaker. 


436 


APPENDIX. 


THE  size  which  this  volume  has  reached,  owing  to  the  neces- 
sity of  inserting  a  sufficient  number  of  examples  for  practice, 
compels  us  to  omit  nearly  the  whole  of  an  appendix,  in  which 
we  had  discussed  the  following  topics.  1.  The  general  subject 
of  good  taste  in  respect  to  the  kinds  of  delivery  most  appropri- 
ate on  different  occasions:  2.  The  management  of  the  mind, 
when  carrying  on  in  conjunction  the  two  processes  of  composi- 
tion and  of  speaking — i.  e.  its  management  in  Extemporaneous 
Speaking:  3.  Reading,  in  its  two  kinds  of  Public  and  Parlor 
reading:  4.  The  delivery  of  Poetry  :  5.  Continued  Self-Culti- 
vation in  Elocution :  6.  The  Elocution  of  Conversation  :  7. 
The  influence  of  public  speaking  on  Health. 

Without  attempting  to  discuss  any  of  these  important  sub- 
jects in  full,  we  will  briefly  mention  a  few  considerations  suffi- 
cient to  complete  the  present  work  as  a  practical  treatise  on 
Public  Delivery.  Such  ideas  will  be  selected  as  an  instructor 
is  most  often  called  on  to  suggest  in  answer  to  enquiries;  yet 
they  will  be  merely  indicated,  as  space  is  wanting  for  their  full 
development. 

1.  Good  Taste. — All  public  delivery  may  be  divided  into  two 
kinds;  the  Elevated  and  the  Familiar. 

Elevated  Delivery  ought  always  to  be  characterized 
by  Gravity,  Dignity,  Suavity,  and  Sympathy. 

Familiar  Delivery  should  especially  exhibit  Liveliness, 
Fluency.  Grace,  and  as  much  Rapidity,  as  is  consistent 
with  intelligibility.  Vide  last  par.  p.  344. 

In  both  kinds,  Grace  and  Self-Possession  ought  to  manifest 
themselves  as  established  personal  habits  of  the  speaker.  As 


APPENDIX. 


437 


much  varie^also  ought  always  to^>e  employed,  as  the  course 
of  thought  wm  permit. 

Finally,  so  far  as  delivery  merely  is  concerned,  Brevity 
is  one  of  the  most  important  of  all  qualities. 

Very  few  speakers  seem  to  be  aware  of  this  unquestionable 
fact.  Elocution,  like  music,  has  but  a  limited  numbe'r  of  legit- 
imate resources  for  variety.  Of  the  two  arts,  music  bestows  the 
deepest  and  most  universal  pleasure.  Yet  musicians  appreciate 
the  great  importance  of  brevity  in  single  performances,  and 
not  only  shorten  them  as  much  as  possible,  but  call  in  every  prac- 
ticable resource  for  variety.  Even  the  most  favorite  performers, 
avoid,  if  possible,  taking  on  themselves  alone  the  task  of  grati- 
fying an  assembly  throughout  an  entire  concert.  Actors  pursue 
the  same'policy ;  they  always  shorten  long  speeches  in  a  play. 

2.  Extemporaneous  Speaking. — In  the  case  of  a  mind  well 
disciplined  by  education,  the  hindrances  to  this  accomplishment, 
are  almost  solely  the  embarrassment  and  confusion  of  mind 
which  attend  the  want  of  established  habits  of  good  delivery. 
Vide  the  remarks  which  precede  the  lessons  for  the  first  term 
of  the  Sophomore  year,  p.  404. 

Delivery  may  be  compared  to  the  mechanical  and  habitual 
parts  of  the  act  of  writing  a  composition.  If  one  has  an  easy 
current  hand,  and  confirmed  habits  of  accuracy  in  spelling, 
grammar  and  the  simplest  principles  of  style,  the  labor  of  original 
composition  is  so  simplified  that  the  mind  is  free  to  think  and  ar- 
range its  thoughts  with  facility.  In  extemporaneous  speaking, 
a  perfect  fluency,  readiness,  and  habits  of  clearness  and  force, 
in  delivery,  in  conjunction  also  with  the  composure  and  self- 
possession  which  become  habitual,  not  only  leave  the  mind 
equally  free  to  think,  but  even  assist  it  in  so  doing.* 

*  The  mental  process  by  which  an  extemporaneous  speaker  keeps 
the  construction  of  sentences  and  paragraphs  clear  and  regular,  is  a  cu- 
rious and  useful  subject  of  study.  We  can  but  simply  mention,  that  it 
is  similar  in  many  respects  to  that  of  reading  at  sight.  Vide  p.  206. 


433  A  P  P  E  X  D  1  X  . 

3.  Reading. — Parlor  reading,  as  an  accomplishment,  resem- 
bles that  of  extempore  music  on  a  piano — requiring  not  only 
great  skill,  but  a  peculiar  natural  genius  in  the  reader.  But  as 
an  accomplishment,  it  is  not  often  called  for  in  society — music 
afford  inff.so  much  more  pleasure. 

Public  reading  is  readily  mastered  after  one  has  be- 
come an  accomplished  speaker. 

It  differs  from  speaking  in  requiring  less  clearness  and 
brilliancy  of  voice,  shorter  pauses,  and  less  force  of  em- 
phasis. 

Suppose  an  accomplished  speaker  to  have  a  manuscript  pre- 
pared, from  which  it  is  optional  with  him  either  to  read  or 
speak.  If  he  prefers  the  former,  let  him  consider  how  he 
would  speak  the  composition,  and  use  the  same  emphases,  in- 
flexions and  pauses,  but  less  forcibly.  The  actual  degree  of 
approach  to  the  bold  and  striking  exhibitions  made  in  speaking, 
will  depend  on  the  circumstances  of  the  time,  place  and  occa- 
sion, and  on  the  speaker's  own  choice  and  taste.  Public  read- 
ing may  approach  indefinitely  near  to  speaking,  and  it  is  a  prac- 
tise adopted  by  many,  occasionally  to  speak  a  portion  of  a  dis- 
course, although  the  prevailing  delivery  is  that  of  reading. 

To  be  effective,  reading  should  always  have  in  a  considera- 
ble degree  the  tone  of  addressing  an  audience;  yet  the  address 
is  not  so  direct  and  earnest.  Reading  is  principally,  and  in- 
deed almost  exclusively,  in  the  Meditative  Mood  of  delivery. 

Some  may  imagine  that  in  addressing  public  audiences, 
speaking  must  of  course  be  more  effective  than  reading.  This 
is  not  true.  For  lectures,  whether  of  instruction  or  amusement, 
and  for  many  other  purposes,  reading  is  not  only  more  agreea- 
ble, but  more  useful.  It  puts  the  hearers  into  a  more  reflective 
and  thoughtful,  as  well  as  into  a  more  complacent  and  gratified 
state  of  mind. 

Public  reading  should  be  accompanied  by  graceful  attitudes 
and  gestures.  These  however  will  be  fewer  in  number,  and 


APPENDIX.  439 

like  the  tones  of  the  voice  will  not  be  as  forcible,  or  make  so 
strong  an  appeal,  as  in  speaking. 

Under  this  head  should  be  ranked  the  kind  of  reading  neces- 
sary in  schools  and  families  for  purposes  of  instruction : 

The  principal  requisites  of  which  are  distinctness, 
slowness,  and  a  strong  and  vivid  emphasis. 

4.  Poetry. — It  is  obvious  that  to  attempt  to  exhibit  such 
Practical  Speaking  as  will  be  useful  in  the  business  of  society, 
by  adopting  the  schoolboy  practice  of  declaiming  poetry,  is  ab- 
surd.    Poetry  must  be  read  or  recited.     Recitation  is  a  pecu- 
liar branch  of  elocution,  and  as  distinct  as  that  of  Acting. 

The  public  reading  of  poetry  is  often  necessary.  No  pecu- 
liar directions,  however,  are  required,  except  that  in  giving  the 
pauses,  inflexions  and  emphases  necessary  for  exhibiting  the 
sense,  care  must  be  exercised  that  full  justice  be  done  to  the 
meter.  For  this,  let  the  reader  depend  on  his  ear,  and  care- 
fully observe  the  ca3sural  pauses.  It  is  the  worst  possible  style 
of  reading,  which  makes  poetry  sound  like  prose. 

Poetry,  however,  presents  peculiar  difficulties,  compared  with 
prose,  inasmuch  as  a  larger  proportion  of  the  words  are  impor- 
tant in  meaning,  and  require  an  especial  care  in  articulation. 
Therefore, 

In  reading  poetry,  take  more  pains  than  with  prose, 
to  exhibit  the  natural  grouping  of  the  words. 

The  influence  of  the  feet  in  versification,  tends  to  make  a 
reader  join  words  together  which  are  separated  in  the  natural 
grouping,  and  to  separate  many  which  must  be  grouped  togeth- 
er. Hence  careless  reading  is  more  unintelligible  in  poetry 
than  in  prose.  Even  public  recitations  of  poetry,  with  a  full 
and  musical  voice,  and  with  bold  emphasis,  are  seldom,  for 
this  reason,  satisfactorily  intelligible  to  an  audience. 

5.  Self-cultivation  in  Elocution. — Good  habits,  once  acquired, 
are  not  very  liable  to  be  lost  in  after  life.     A  spirited  and  truly 


440  APPENDIX.  *»* 

natural  delivery,  improves  as  its  possessor  grows  older,  even  if 
he  neglects  its  further  cultivation.  It  receives  ^influence  of 
a  more  matured  mind  and  character.  The  beauty,  strength 
and  flexibility,  however,  of  the  voice,  will  degenerate,  unless 
occasionally  cultivated. 

Those  who  wish  <o  pursue  a  course  of  self-cultivation  in  the 
higher  qualities  of  delivery — such  as  are  needed  in  oratory,  and 
such  as  depend  on  a  vivid  imagination  and  susceptible  feelings 
— must  have  the  habit  of  occasionally  amusing  themselves  with 
endeavoring  to  express  by  Speaking,  Recitation  or  Reading, 
the  full  amount  of  thought,  imagination  and  feeling,  contained 
in  choice  extracts  from  the  greatest  writers. 

If  Speaking  be  practised  in  private,  it  ought  always  to  be  ad- 
dressed in  imagination  to  an  appropriate  audience.  We  have 
just  used  the  expression,  "  amusing  themselves."  A  certain 
degree  even  of  sportiveness,  in  solitary  practice,  will  often  be 
useful,  by  tending  not  only  to  make  the  exercise  agreeable,  but 
to  promote  natural  and  healthful  habits  of  mind.  In  this  way 
may  be  prevented  an  evil  described  by  Tacitus,  in  his  tract  on 
the  causes  of  the  decay  of  eloquence  among  the  Romans; 
among  which  he  enumerates  the  custom  adopted  by  oratorical 
students,  of  getting  up  theatrical  trials,  and  practising  enthusi- 
astic declamation  in  defense  of  injured  innocence,  and  against 
fancied  tyrants  and  oppressors.  By  this  process,  a  false  and 
empty  show  of  passion  became  established  in  place  of  a  living 
eloquence. 

Genuine  eloquence  can  only  be  cultivated  by  a  persevering 
self-development  and  discipline,  not  only  of  the  imagination, 
but  of  the  whole  character.  This  subject,  however,  has  more 
connexion  with  the  study  of  composition,  than  with  that  of  de- 
livery, and  belongs  rather  to  rhetoric  than  to  elocution.  Elo- 
quence in  delivery,  cannot  exist  without  eloquence  in  the 
thoughts  delivered.  All  that  delivery  can  do,  is  to  afford  an 
adequate  presentation  of  thoughts;  it  cannot  supply  them. 


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